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Full text of "Catalogue 1927-1928"






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The Curtis Institute 
of Music 

Endowed 
By MARY LOUISE CURTIS BOK 



1927-1928 



CATALOGUE 



RITTENHOUSE SQUARE 
PHILADELPHIA PENNSYLVANIA 



The Curtis Institute of Music 

WAS CREATED, IN 1924, 
UNDER AN ENDOWMENT 

By Mary Louise Curtis Bok 

AND IS OPERATED UNDER A CHARTER OF 
THE COMMONWEALTH OF PENNSYLVANIA 



PURPOSE 

TO HAND DOWN THROUGH CONTEMPORARY 

MASTERS THE GREAT TRADITIONS 

OF THE PAST. 

TO TEACH STUDENTS TO BUILD 

ON THIS HERITAGE FOR 

THE FUTURE. 



Five 



The Curtis Institute of Music 
Offers To Students: 

Instruction by world famous artists who teach person' 
ally and give individual lessons. 

Free tuition, or partial exemption from tuition fees, 
where required. 

Financial aid, if needed. 

Steinway Grands, string and wind instruments rent 
free, to those unable to provide such for themselves. 
These Steinway pianos will be placed at the disposal 
of students in their respective domiciles. 

Opportunities to attend concerts of the Philadelphia 
Orchestra and of important visiting artists, also per^ 
formances of the Metropolitan Opera Company — as 
part of musical education. 

Summer sojourns in the United States and Europe, to 
advanced and exceptionally gifted students, under 
artistic supervision of their respective master teachers 
of the Curtis Institute. 

Regular public appearances during the period of their 
studies, when warranted by their progress, so that they 
may gain practical stage experience. 

In addition to development of the student to full artistic 
maturity, financial assistance in setting out on a public 
career. 



Seven 



Director 

Josef Hofmann 



J^ine 



OFFICERS 



President 
Mrs. Mary Louise Curtis Bok 

Vice President 
Philip S. Collins 

Secretary and Treasurer 
William Curtis Bok 

Board of Directors 

Mrs. Mary Louise Curtis Bok 
William Curtis Bok 

Philip S. Collins 
Cyrus H. K. Curtis 
Mrs. Samuel S. Fels 



Ten 



EXECUTIVE STAFF 

Director 
Josef Hofmann 

Assistant to the Director 
David Saperton 

Dean 
Grace H. Spofford 

Assistant to the Dean 
Elizabeth Swenson 

Counselor to the Student Body 
Emily L. McCallip 

Comptroller 
H. W. Eastman 



Ele 



LOCATION 

The Curtis Institute of Music, facing the green of 
Rittenhouse Square, is in the heart of the best residential 
section of Philadelphia. It is within four blocks of the 
Academy of Music where the symphony concerts of the 
Philadelphia Orchestra, the concerts of important visit' 
ing artists and the performances of the Metropolitan 
Opera Company of New York are given. 

BUILDINGS 

The buildings comprise three beautiful private resi' 
dences which have been remodeled; yet there has been 
retained their original homelike atmosphere. 

EQUIPMENT 

The equipment and furnishings combine both 
beauty and utility. 

LIBRARY 

The library is extensive and of wide scope, embrac 
ing over 5,000 volumes — books, music and scores. It in^ 
eludes many original and unedited editions of music of 
the great masters. 



Twelve 













i^f/lP 






T^ 








v:J 



THE NEW CONCERT HALL 

The new concert hall now building, will be 
completed by October 1, 1927. The plans call for a 
room 70 feet long, 35 feet wide, and 22 feet high, with a 
seating capacity of approximately 350. All the resources 
of modern research are being used to make it acoustically 
perfect, and soundproof against street noises. 

Architecturally it will correspond to the Institute 
Main Building, of which it is an integral part. 

The illumination will be effected by indirect light' 
ing concealed behind the upper moulding all around the 
hall. The interior walls are to be wood'paneled up to 
the ceiling. 

There will be a luxuriously appointed and easily 
accessible artists room adjoining the stage. 

To facilitate placing of pianos on the stage, a 
proscenium elevator has been devised which allows a 
section of the stage to descend to the basement where 
pianos can be stored. 

Two organs, a four-manual Aeolian pipe organ 
and a three-manual practice organ are being installed 
which will enable the Institute to give courses in that 
instrument. 

In this new hall, the students will be given the 
opportunity of acquiring experience in students concerts 
under conditions equaling those under which they will 
appear in professional life. 



Thirteen 



HEADS OF DEPARTMENTS 

The various Departments of The Curtis Institute of 
Music are under the personal direction and supervision 
of the following members of its Faculty : 

Marcella Sembrich Voice 

Josef Hofmann Pianoforte 

Lynnwood Farnam Organ 

Carl Flesch Violin 

Louis Bailly Viola and Chamber Music 

Felix Salmond Violoncello 

Carlos Salzedo Harp 

Arthur Rodzinski Orchestra 

Reginald O. Morris . Theory and Composition 

These artists, in each instance, in addition to their 
duties as Heads of Departments, instruct students per' 
sonally. 



Fourteen 



DEPARTMENT OF VOICE 

Marcella Sembrich, Head of Department 

Instructors 

Marcella Sembrich 

Harriet van Emden 

Emilio de Gogorza 

Horatio Connell 

Coaching and Repertoire 
Richard Hageman 
Arthur Rodzinski 

Diction 

Marie Emma Bourdin'Bacher 
Jean B. Beck 

EUPHEMIA GlANNINI GrEGORY 

Samuel Arthur King 

Minna Saumelle 

domenico vlttorini 

Hermann J. Weigand 

Operatic Acting and Stage Deportment 

WiLHELM VON WyMETAL 

eurhythmics 
Placide de Montoliu 



Fifteen 



MARCELLA SEMBRICH 

Marcella Sembrich Kochanska, who was destined 
to become one of the world's greatest operatic sopranos, 
was born in Lemberg, Poland. She adopted her mother's 
maiden name of Sembrich to serve her professional career. 
Her first musical instruction was received from her 
father in piano and violin. At the age of twelve she 
appeared in piano and violin recitals, and she continued 
her study of these instruments with Guillaume Stengel 
in the Lemberg Conservatory. When she was sixteen 
years old, Marcella was sent to Vienna to perfect her 
musical and pianistic training under Julius Epstein, and 
it was here that her great possibilities as a singer were 
discovered. The girl was then sent to study voice with 
Lamperti in Milan. 

Her debut as singer was made in Athens in 1877, 
and success in opera came swiftly. Engagements in 
London, Paris, Dresden, Berlin, St. Petersburg, Vienna 
and Madrid followed in quick succession, and in 1883 
Madame Sembrich was engaged as leading soprano at 
the Metropolitan Opera, and made her debut as Lucia. 
Concert tours and operatic engagements in Europe 
alternated with her visits to America, and from 1902 
to 1909 she was continually engaged by the Metropolitan 
Opera Company. After retiring from operatic and con' 
cert work, Madame Sembrich devoted herself to teaching 
and has since developed such singers as Jerit^a, Dusolina 
Giannini, Hulda Lashanska and Queena Mario. 



Sixteen 




Photograph bv M. \. ^or\s, y{. T. 



Marcella Sembrich 
Head and Instructor, Voice Departnient 




Emilio de Gogorza 

Instructor, Voice 



EMILIO DE GOGOR2A 

Spain, France and England have all shared in the 
musical endowment bestowed on this artist, who was 
born in 1874 of Spanish' American parents, in Brooklyn, 
New York, first undertook singing as a serious study in 
England, and first appeared in concerts in France. Emiilio 
de Gogorzia traveled with his parents as a child and it 
was in London that he became a favorite as a boy 
soloist in churches and school choirs. He completed his 
studies at the Ecole Monge and Lycee Louis'le-Grand 
in Paris, France. 

De Gogorz^ returned to America for his first serious 
instruction, his teachers being Moderati and Agramonte 
in New York. A visit to Paris resulted in his continuing 
his studies with Emile Bourgeois, singing master of the 
Opera Comique. In 1897 de Gogorzia was first heard in 
a concert in New York with Marcella Sembrich. From 
that date his appearances have been continuous in re' 
citals and with the leading orchestras in the United 
States and Europe. 

With an unusual gift for languages, Emilio de 
Gogorza has been able to enrich his programs with the 
rarely heard songs and folk music of many races. He has 
cultivated in his audiences a taste and appreciation for 
the songs of the younger French composers, for Russian 
folk songs, and has revealed a new world of Spanish art 
song in the melodies of Andalusia, Catalonia, and the 
country of the Basques. 



Seventeen 



DEPARTMENT OF PIANOFORTE 

Josef Hofmann, Head of Department 

Division of Piano Solo 

Josef Hofmann, Head of Division 

Instructors 

Josef Hofmann 

MoRiz Rosenthal 

ISABELLE VeNGEROVA 

David Saperton 

Division of Accompanying 
Harry Kaufman, Head of Division and Instructor 

Division of Secondary Piano 

Abram Chasins, Head of Division 

Instructors 

Abram Chasins 

Ethel S. Drummond 

and others, drawn from the student 

body of the Institute. 

DEPARTMENT OF ORGAN 

Lynnwood Farnam, Head of Department and Instructor 



£:ghte 




Photograph bv Strauss-Peyton 



Josef Hofmann 

Director of the Institute 
Head and Instructor, Pianoforte Department 



JOSEF HOFMANN 

A musical lineage that embraced on his father's 
side a piano teacher, pianist-composer and orchestra 
leader, and on his mother's a noted soprano of the 
Cracow Municipal Opera, furnished the background 
for the youthful genius, Josef Hofmann. He was born 
in 1876 and began to study music before the age of four, 
his first teacher being his sister. A year later Hofmann 
senior undertook the boy's musical training. 

Josef Hofmann made his first public appearance in 
a town near Warsaw when he was five years old. Other 
concerts followed in the leading cities of Poland, and 
when he was eight, he was heard by Anton Rubinstein, 
who predicted a career of exceptional brilliance for the 
youthful prodigy. 

At the age of nine, his first European tour was ar^ 
ranged and the boy was heard in Germany, France, 
England and Scandinavia. Soon after, in 1887, he ap- 
peared for the first time in the United States, giving 
forty concerts. The remarkable playing of the eleven- 
year old boy so aroused the enthusiasm of Alfred Corning 
Clark of New York that he generously offered to provide 
his father with the necessary means to further his musical 
education and artistic growth, whereupon the boy return- 
ed to Europe to study music in Berlin. Four years later 
he became the only private pupil of Anton Rubinstein. 

In 1894, then eighteen years old, Hofmann returned 
to the concert platform. He toured Germany and 
England, and in 1896 made his Russian debut. Two 
years later he returned for a tour of the United States, 
and has since been constantly before the public as con- 
cert pianist and composer. For the last twenty-one 
years Mr. Hofmann has made his home in the United 
States and has become an American citi2ien. 

Hofmann's compositions are numerous. His or- 
chestra works have been performed in the United States 
and Europe by Nikisch, Schuch, Safonoff, Stokowski, 
Zach, Gabrilowitsch, Damrosch, and Stock. 

T^ineteen 



MORI2 ROSENTHAL 

A heritage derived from years of actual contact 
with men whose names belong to musical history gives 
Mori^ Rosenthal a unique position among present'day 
pianists. Mikuli, Rafael Joseffy and Liszt shared inti' 
mately in the formation and development of his musical 
and pianistic gifts. Born in Lemberg, Poland, in 1862, 
Moriz Rosenthal began his studies at the age of seven 
with Galath. His work soon attracted the attention of 
Carl Mikuli, director of the Lemberg Conservatory and 
former pupil of Chopin. Playing on two pianos with 
Mikuli he made his first public appearance at the age 
of ten. 

Rafael Joseffy undertook Rosenthal's instruction in 
1875, and following his tour of Roumania, the Queen 
conferred upon the fourteen^year old boy the title of 
court pianist at Bucharest. A few months later he was 
taken as a private pupil by Franz Liszt with whom he 
studied both in Weimar and in Rome until the master's 
death in 1886. From that time on, concert tours have 
taken Rosenthal to Paris, Berlin, London, St. Petersburg, 
Madrid, Lisbon, Rome — the principal cities of Europe, 
as well as America which he has visited eight times. 
In 1880 Rosenthal laid aside his public career for a period 
of three years to engage in the study of philosophy at 
the University of Vienna. In 1912 he was appointed 
Court Pianist by Franz Josef I, then Emperor of Austria. 

Rosenthal was the first to recognize the virtuoso 
possibilities of the Johann Strauss waltzes, and his para' 
phrases of these waltzes are among his most brilliant 
compositions. 



Twenty 




Photograph by Mishf^m 



MoRiz Rosenthal 
Instructor, Pianoforte 




Photograph b> Dnx Duryea 

Lynnwood Farnam 
Head and Instructor, Organ Department 



LYNNWOOD FARNAM 

Born at Sutton in the Province of Quebec in 1885, 
Lynnwood Farnam, organist, began his musical studies as 
a pianist in Dunham, where, at the age of fifteen, he won 
the Montreal Music Scholarship. This scholarship, con^ 
tributed by Lord Strathcona and Lord Mount Stephen, 
made possible his four years of study at the Royal 
College of Music in London. His teachers were Franklin 
Taylor and Herbert Sharpe for piano, and Dr. James 
Higgs, F. A. Sewell, and W. S. Hoyte for organ. 

The organ won young Farnam's preference, and to 
this he devoted his chief interest. Returning to Canada 
in 1904, Mr. Farnam received his first appointment as 
church organist in Montreal, soon becoming organist of 
Christ Church Cathedral. He gave up this post in 1913 
to accept a call to Emmanuel Church in Boston. The 
war interrupted his musical career, but after his dis- 
charge he returned to the United States. 

He was engaged as organist by the Fifth Avenue 
Presbyterian Church, New York City, during 1919'20, 
and since that date has been organist of the Church of 
the Holy Communion in New York. Mr. Farnam has 
had an extensive concert career, having appeared as 
soloist with the Society of the Friends of Music, New 
York, at the Coolidge Foundation Festival of Chamber 
Music in Washington, the Cincinnati Music Festival, 
and on other notable occasions. He has given public 
performances at York Minster, Bath Abbey, the Cathe- 
drals of Westminster, Southwark, Exeter, and Christ 
Church, Oxford, in England, and in the American 
Cathedral in Paris and at the Church of St. Ouen in 
Rouen, France. 



Twenty'one 



DEPARTMENT OF VIOLIN 

Carl Flesch, Head of Department 

Instructors 

Carl Flesch 

Richard Hartzer, Assistant 

Lea Luboshutz 

Emanuel Zetlin 

DEPARTMENTS OF VIOLA AND 
CHAMBER MUSIC 

Louis Bailly, Head of Departments and Instructor 

DEPARTMENT OF VIOLONCELLO 

Felix Salmond, Head of Department and Instructor 

DEPARTMENT OF HARP 

Carlos Salzedo, Head of Department 

Instructors 

Carlos Salzedo 

Florence Wightman, Assistant 



Twentytwo 




Photograph bv Kubey-Rembrandt 

Carl Flesch 
Head and Instructor, Violin Department 



CARL FLESCH 

The influence of the Vienna and Paris schools of 
violin pedagogy have combined to develop in the person 
of Carl Flesch one of the most prominent of present-day 
violinists who is also distinguished as a teacher. Born 
in Hungary in 1873, Carl Flesch began his study of the 
violin under Griin at the Vienna Conservatory when he 
was six years old. At the age of ten he became a pupil 
of Sau2;ay at the Paris Conservatory, and later of Marsick, 
whose influence especially, moulded his development. 
In 1894 the young student received the first pri2ie of the 
Paris Conservatory by unanimous decision. 

Mr. Flesch was appointed professor of violin at the 
Royal Academy in Bucharest in 1896 and became also 
first violin in the Quartet at the court of the Queen of 
Roumania. An appointment as professor of violin at 
the Amsterdam Conservatory followed, and in 1921 he 
was named director of special courses in the State School 
of Music in Berlin. Here he organizied a trio with Hugo 
Becker and Arthur Schnabel. 

Carl Flesch is author of the "Art of Violin Playing,'" 
acknowledged one of the most complete and authorita' 
tive works on the subject. He has published a volume of 
"First Studies," edited Kreutzier's Studies, and "Twenty 
Studies from Paganini." With Schnabel he edited 
Mo2;art's Violin Sonatas. Carl Flesch has frequently 
appeared in the United States in violin recitals, as soloist 
with symphony orchestras, and in leading chamber music 
concerts. 



Twenty'three 



LEA LUBOSHUT2 

Born in Odessa, Lea Luboshutz; began her concert 
career as a violinist at the age of six. It was upon 
the advice and insistence of Vassily Safonoff, noted 
Russian conductor, that she pursued her studies at the 
Moscow Conservatory. There she received a gold medal 
for exceptional accomplishment and at the age of sixteen 
was heard in concerts in Poland, Germany and France. 
She appeared with the leading orchestras, including those 
conducted by Safonoff and Arthur Nikisch. 

Her first appearance in America was as soloist with 
the Russian Symphony Orchestra conducted by Alt- 
schuler. An extensive tour of Russia and other European 
countries followed, when she gave more than one hundred 
recitals. Madame Luboshutz; then studied for three 
years with Eugene Ysaye, becoming one of his most 
brilliant pupils. Since then she has appeared extensively 
in concerts in the United States and abroad. She has 
been soloist with the Berlin Philharmonic Orchestra, the 
Pasdeloup Orchestra in Paris, and has played before the 
King and Queen of Belgium. Madame Luboshutz; rc' 
turned to America a few years ago as soloist with the 
State Symphony of New York. She has since been 
heard as soloist with the leading symphony orchestras 
in this country. 



Twentyfour 




Photograph b> Mishljiti 



Lea Luboshutz 
Instructor, Violin 




Photograph by Kubey-Rembrandt 

Louis Bailly 
Head and Instructor, Viola and Chamber Music Departments 



LOUIS BAILLY 

A native of Valenciennes, France, born in 1882, 
Louis Bailly devoted the first three years of his musical 
studies in Paris, from 1895 to 1898, to the violin, then 
transferring his allegiance to the viola. At the close of 
one year's study of viola, he headed the list of prii^e 
winners at the Paris Conservatory. Thereafter he was 
heard as soloist at the Concerts Colonne, the Opera 
Comique, the Grand Opera, and the Societe des Concerts 
du Conservatoire. He was one of the original members 
of the Capet Quartet, remaining with this organi2;ation 
for seven years, and then joined the Geloso Quartet 
until its disbanding at the outbreak of the war. With 
these organi2;ations he had appeared both as soloist and 
in ensemble in France, England, Germany, before the 
Royal court of Rome, and in Belgium, Swit2;erland and 
Holland. In 1917 Mr. Bailly obtained a special release 
from military duty to join the Flon^aley Quartet in 
New York. With Harold Bauer at the piano he gave 
the first performance of Ernest Bloch's Suite for Viola 
and Piano at the Pittsfield Festival in 1919. Mr. Bailly 
has been soloist with the Philadelphia Orchestra, with 
the National Symphony in New York under Bodanziky, 
with the Friends of Music, New York City. He is a 
Cavalier of the Order of the Crown of Roumania (1925) 
and for eight years was a member of the Jury of the Paris 
Conservatory. 



Twentyfive 



FELIX SALMOND 

A musical endowment was the birthright of this 
violoncellist, his father being Norman Salmond, celc 
brated English bass^baritone, and his mother a pro- 
fessional pianist. Felix Salmond was born in London 
in 1888. His early gifts matured under the tutelage of 
Professor W. E. Whitehouse of the Royal College of 
Music in London, where at the end of three years 
young Salmond won a scholarship which he retained 
for a period of four years. He then continued his studies 
in Brussels with Edouard Jacobs. 

Mr. Salmond made his debut in London in 1919, 
and thereafter appeared in concerts throughout Great 
Britain. He was invited by Sir Edward Elgar to appear 
as soloist in the premiere of that composer's Concerto 
for Violoncello and Orchestra, played by the London 
Symphony. In 1921 he made his debut on the Continent 
in a recital in Amsterdam after devoting two seasons to 
ensemble playing with the Chamber Music Players. 

Mr. Salmond has appeared in concerts with the 
most celebrated pianists of the day, and as soloist with 
the leading orchestras. He made his first concert ap- 
pearance in the United States in 1922, and has alternated 
his visits here with concert tours of Europe. While 
Mr. Salmond is recogni2;ed as one of the leading expo- 
nents of the classical repertoire for the 'cello, he has 
done much to introduce the works of modern composers. 



Twentysix 




Felix Salmond 
Head and Instructor, Violoncello Department 




Photograph b\ Kubey-Rembrandt 



Carlos Salzedo 
Head and Instructor, Harp Department 



CARLOS SAL2EDO 

Destined to become the leading single factor in 
elevating the harp to a position of undisputed authority 
and popularity, Carlos Sal^edo, the creator of "contem^ 
porary harpism," won his earliest laurels in piano and 
solfege. He was born in 1885 in the province of Gironde, 
France, and entered the Bordeaux Conservatory at the 
age of seven. In two years he had won first prizies in 
the piano and solfege departments. Thence he went to 
the Paris Conservatory, and at the age of twelve began 
the study of the harp. Four years later he won in one 
day the First Prizes for both piano and harp at the 
Paris Conservatory. 

Until he was twenty, Salziedo toured Europe both 
as pianist and harpist. Not until 1909, when Gatti- 
Casaziza engaged him as solo harpist with the Metro' 
politan Opera, did the young musician finally determine 
which instrument would be the one to fashion his career. 
But once having adopted the harp, Sal2;edo set about to 
elevate it to its proper place of importance. He founded 
organizations and movements to attract public interest, 
and alternated his tours of America with visits to Europe. 
The outbreak of the war found him in Europe with the 
Trio de Lutece, and after his discharge from the army, 
Salzedo returned to the United States. 

He organized the Salzedo Harp Ensemble, and was 
elected president of the National Association of Harpists, 
which office he still holds. With Edgar Varese, he formed 
the International Composers' Guild, and issued a maga' 
zine, Eolus, devoted to contemporary music. As a 
teacher, he revitalized harp technique and created the 
system of symbols now universally used to designate 
the means of producing desired effects. His ''Modern 
Study of the Harp" is the recognized textbook in this 
branch of music. Salzedo's compositions and transcrip- 
tions are numerous. His symphonic poem, "The En- 
chanted Isle," has been played by the Symphony Or- 
chestras of Chicago, Detroit, Philadelphia and Boston. 

Twentyseven 



DEPARTMENT OF ORCHESTRA 

Arthur Rodzinski, Head of Department 

Conductor of the Students' Orchestra and Instructor 
of Orchestra Classes 

Instructors 

Double Bass, Anton Torello 

Flute, William M. Kincaid 

Clarinet, Daniel Bonade 

Ohoe, Marcel Tabuteau 

Bassoon, Walter Guetter 

Horn, Anton Horner 

Trumpet, Sol Cohen 

Trombone, Gardell Simons 

Tuba, Philip A. Donatelli 

Percussion, Oscar Schwar 

(All the above are solo players of the Philadelphia Orchestra.) 



Twentyeight 



COURSES IN ORCHESTRA INSTRUMENTS 

There is in the United States a serious lack of players 
of woodwind, brass, and percussion instruments, quali' 
fied to hold posts in the many symphony orchestras 
scattered throughout the country. There exist today 
more excellent positions, waiting to be worthily filled, 
than there are players ready to fill them. 

The instructors of orchestral instruments are artists 
who hold in the Philadelphia Orchestra the posts of solo 
players of these various instruments. 

The Orchestra 

All students of string instruments, and those special' 
izing in woodwind, brass, and percussion are required to 
take part regularly in the rehearsals and concerts of the 
student orchestra. This training is intensified by pat' 
ticipation in the orchestra of various solo players of the 
Philadelphia Orchestra. 

Orchestra Classes 

These classes will give students preliminary training 
in orchestral technique, routine, and sight-reading. 



Twentynine 



ARTHUR ROD2INSKI 

An innate love for music persisted during the early 
formative years of Arthur Rodziinski, despite the fact that 
his father, who was an army surgeon stationed at Lem- 
berg, Poland, chose the profession of law for his son. 
Born in 1893, young Rod^inski attended the Vienna 
University where he received the degree of Doctor of 
Laws. Then, having been obedient to the parental 
dictum, he turned to music, his real love. At the Vienna 
Academy he studied piano with Sauer and Laleviez;; 
theory and composition with Marx and Schreker. His 
teacher in conducting was Schalk, and soon young 
Rod2iinski was conducting with Schreker the chorus of 
the Vienna Philharmonic Society, and produced the 
"Totenmesse" of Berlioz;. 

The war interrupted his musical activities, but 
after being wounded in action he received his discharge 
and became conductor of the Lemberg Opera. Later he 
was appointed first conductor of the Warsaw Opera, 
and here he was enabled to display his initiative in the 
presentation of new works. Ravel's "L'Heure Es' 
pagnole," Strauss' ''Rosenkavalier," D' Albert's *'Tote 
Augen" and Ferrari's ''Jewels of the Madonna" all 
were heard under the leadership of Rodziinski before 
their presentation in the larger cities of Europe. During 
this period he was also conductor of the Philharmonic 
Orchestra in Warsaw. In 1925 he was engaged by 
Leopold Stokowski as assistant conductor of the Phila- 
delphia Orchestra. 



Thirty 




Photograph by Coldens\y 



Arthur Rodzinski 



Head and Instructor, Orchestra Department 
Conductor, Students' Orchestra 



DEPARTMENT OF THEORY 

Reginald O. Morris 
Head of Department 

Instructors in Sol/ege, Harmony, and Counterpoint 

Reginald O. Morris 

Herbert W. Sumsion, Assistant 

Renee Longy Miquelle 

Ethel S. Drummond 

Instructcyrs in Composition and Orchestration 

Reginald O. Morris 

Rosario Scalero 

Abram Chasins 



ACCOMPANISTS 

Harry Kaufman 

Official Accompanist of the Institute 

Other Accompanists: 

Dagmar Rybner Barclay 

Ilsa Reimesch 

and others, drawn from the student 

body of the Institute 



Thirtyone 



REGINALD OWEN MORRIS 

was born in 1886 and received his education at Harrow 
and New College, Oxford, and later at the Royal College 
of Music in London. He early turned his attention to 
music and studied composition under Dr. Wood and 
orchestration with Cecil Forsyth. As music critic for 
the "Nation" before its merger with the ''Athenaeum," 
Morris wielded a thoroughly enlightened influence in 
musical thought and appreciation. In 1920 he was ap' 
pointed Professor of Harmony and Composition at the 
Royal College of Music, where he was actively associ' 
ated with Sir Hugh Allen. He resigned his post in 
London to assume the direction of the Theory Depart' 
ment at The Curtis Institute of Music. Mr. Morris is 
author of ''Contrapuntal Technique" and "Foundations 
of Practical Harmony and Counterpoint." His composi' 
tions include both chamber and orchestral music. 



Thirtytwo 




Reginald O. Morris 
Head and Instructor, Theory Department 




Photograph b\ KiAeyRembrandt 



ROSARIO SCALERO 
Instructor, Composition 



ROSARIO SCALERO 

The doctrines of musical composition formulated by 
Palestrina have continued in an unbroken line down to 
the present day. The series of celebrated masters who 
have perpetuated the descent, and have maintained the 
traditions of form and style, include such names as 
Zelter, Mendelssohn, Joachim, Brahms, Nottebohm and 
Mandyc2;ewski. It was with Mandyc2;ewski that Ro- 
sario Scalero, teacher and composer, studied for seven 
years in Vienna. 

Scalero, born in 1873, began his musical career as a 
violinist at the Liceo Musicale in Turin. Later his 
studies proceeded with Camillo Sivori in Genoa, and 
then with Wilhelmj in Germany. At the age of twenty, 
Scalero won the title of Distinguished Academician of 
the Royal Academy of St. Cecilia in Rome, and after his 
studies with Mandyc^ewski he was appointed Docent 
of Musical Form at the same Academy. 

After a series of concerts in the principal cities of 
Europe, Scalero settled in Rome, where he founded the 
Societa del Quartetto, for the performance of ensemble 
and choral works. He has also acted as High Com' 
missioner for Examinations for the Conservatories of 
Naples, Rome and Parma. His published works are 
numerous and include many compositions for the violin. 



Thirtythree 



LECTURERS ON COMPARATIVE ARTS 

Among the lecturers for 1927''28 will be: 

Horace Alwyne, Professor of Music, Bryn Mawr College. 

Jean B. Beck, Professor of Romance Languages, University 
of Pennsylvania. 

DiNO BiGONGiARi, Associatc Professor of Italian, Columbia 
University. 

Olin Downes, Music Editor, J^ew Tor}{ Times. 

HuGER Elliott, Director of Educational Wor\, Metre 
politan Museum of Art. 

Carl Engel, Chief of Music Division, Library of Congress. 

Leo Katz, Artist and Art Critic, 'Hew Tor\. 

FiSKE Kimball, Director of the Pennsylvania Museum. 

Elbert Lenrow, Instructor in English, University of 
Pennsylvania. 

Alfred Martin, Society for Ethical Culture, 7<iew Tor\. 

Andre Morize, Professor of French Literature, Harvard 
University. 

Roy F. Nichols, Assistant Professor of History, Univer^ 
sity of Pennsylvania. 

Olga Samaroff, Concert Pianist; Music Editor, 7<iew 
7'or\ Evening Post. 

Felix E. Schelling, Professor of History and English 
Literature, University of Pennsylvania. 

J. Duncan Spaeth, Professor of English, Princeton Uni- 
versity. 

In addition, other eminent lecturers will be an' 
nounced later. 

Thirtyfour 



COMPARATIVE ARTS COURSE 

1927-28 

1. October 10th Romanticism 

(Its origins and the spread of the Romantic Period) 

2. October I7th English Romanticism 

(Burns and Scott) 

3. October 24th English Romanticism 

(Byron) 

4. October 31st English Romanticism 

(Wordsworth, Shelley, Keats) 

5. November 7th English Romanticism 

(Painting in the XVIII and Early XIX Centuries) 

6. November 14th German Romanticism 

(Goethe) 

7. November 21st German Romanticism 

(Schiller, Hoffmann, etc.) 

8. November 28th German Lyricists 

(Heine) 

9. December 5th German Romanticism 

(Painting — The Duesseldorf School, etc.) 

10. December 12th French Romanticism 

(Victor Hugo) 

11. December 19th French Romanticism 

(Lamartine, de Musset, de Vigny, George Sand) 

12. January 9th French Romanticism 

(Painting — Ingres, Millet, Corot, Delacroix, etc.) 

13. January l6th Victorian England 

(Changing ideals of the new Industrial Age) 

14. January 23rd Tennyson and Browning 

15. January 30th Pre^Raphaelitism 

(Painting and Literature) 

Thirty jive 



16. February 6th The Psychological T^ovel 

in England and France 
(George Eliot, Meredith, Flaubert, etc.) 

17. February 13th The Threshold of the 

Modern Musical Era 

(Chopin, Lis2;t, Berlioz) 

18. February 20th Richard Wagner 

19. February 27th . . French Symbolists, Parnassians, etc. 

20. March 5th French Impressionist and 

Modern Painters 

21. March 12th Debussy, Ravel and the 

Modern French Composers 

22. March 19th Italian Literature 

(Manzoni, Carducci and D'Annundo) 

23. March 26th . . Russian Literature in the 19th Century 

(Pushkin, Gogol, Turgeniev, Dostoievski, Tolstoi, etc.) 

24. April 2nd . . Ibsen and the Modern European Drama 

25. April l6th The ?iew Spirit in Modern Art 

26. April 23rd Trends in Music since the War 

27. April 30th American Literature and 

the J^ew Aesthetic 

28. May 7th Modern American Architecture 



THREE LECTURE-RECITALS ON SEVENTEENTH 
AND EIGHTEENTH CENTURY MUSIC 

By Wanda Landowska 

1. Old Dances. How they were danced and played. 

2. Descriptive Music of the I7th and 18th centuries, 
and its relation to the modern ""program music." 

3. John Sebastian Bach and his relation to his prede- 
cessors and contemporaries. 

Thirtysix 



THE ACADEMIC DEPARTMENT 

Believing that a broad cultural background is an 
essential factor in the making of an artist, the Institute, 
in its Academic Department, offers numerous courses of 
studies supplementary to the major work in music, 
whereby the students may secure a foundation on which 
to build in the future. 

The Faculty 

History of Music (from early heginnings 
to 1600 A.D.) and French Literature 

Jean B. Beck, Ph.D. 

Professor of Romance Languages and Literature 

Lecturer on the History of Music 

University of Pennsylvania 

History of Music (from 1600 A.D. on) 

Horace Alwyne, F. R. M. C. M. ' 

Professor of Music and 

Director of the Department of Theoretical Music 

Bryn Mawr College 

World History 

Roy F. Nichols, A.M., Ph.D. 

Assistant Professor of History 
University of Pennsylvania 

English Literature (and Advanced Composition) 

William Page Harbeson, LL.B., Ph.D. 

Assistant Professor of English Literature 
University of Pennsylvania 



Thirtyseven 



English Diction 

Samuel Arthur King, M.A. (London) 

Lecturer in English Diction 
Bryn Mawr College 

English Composition (elementary and advanced) 
and Comparative Literature 

Elbert Lenrow, A.M. 

Graduate School, Columbia University 
University of Pennsylvania 

French (elementary and intermediate) 

Marie Emma Bourdin-Bacher 

Graduate School, University of Pennsylvania 
Acting Instructor, Swarthmore College 

Italian (Language, Literature, and Diction) 

DOMENICO VlTTORINI, A.M., LiTT.D. 

Assistant Professor of Romance Languages and Literature 
University of Pennsylvania 

German (Language, Literature, and Diction) 

Hermann J. Weigand, Ph.D. 

Assistant Professor of German 
University of Pennsylvania 

Psychology 

Samuel W. Fernberger, Ph.D. 

Assistant Professor of Psychology 

University of Pennsylvania 

Students, unless excused for some valid reason, are required to 
study at least two academic subjects each term and to attend certain 
lectures. 



Thirtyeight 



STUDIES 


Voice 


Orchestra Playing 


Pianoforte : 


Orchestra Instruments : 


Solo 


Double Bass 


Accompanying 


Flute 


Secondary 


Clarinet 




Oboe 


Organ 


Bassoon 




Horn 


Violin 


Trumpet 


Viola 


Trombone 


Violoncello 


Tuba 


Harp 


Percussion 


Chamber Music 


History of Music 


AND Ensemble Playing 


Comparative Arts 




Comparative Literature 


Operatic Coaching 


World History 


AND Repertoire 


Psychology 


Operatic Acting 


Languages, Literature, 


Platform and 


and Diction : 


Stage Deportment 


English 




French 


EURHYTHMICS 


Italian 




German 


Theory: 




Ear'training 




Sight'singing 




Dictation 




Harmony 




Counterpoint 




Analysis 




Score Reading 




Composition 




Orchestration 





Thirtynine 





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Fortytwo 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS 

The entrance requirements of The Curtis Institute 
of Music do not comprise the performance of certain speci' 
fied compositions. The requirements have been left in a 
general form, giving the candidate the choice as to which 
work and which studies of a particular composer he 
wishes to present for examination. The final decision as 
to the suitability of a candidate for acceptance rests upon 
the evidence of talent shown in the examination, rather 
than upon the degree of advancement already attained. 
While the choice of compositions is important, the manner 
of performance carries far greater weight. 

The Examining Board, in each department, consists 
of the head of the department and certain members of the 
faculty. 

Voice 

Applicants must possess a good voice and musical 
talent. In addition, they should have at least an elemen- 
tary knowledge of music and of pianoforte, while some 
knowledge of languages is most desirable. 

Four selections from the following composers' songs, 
oratorios, or arias are required, preferably from memory: 
Parisotti, Handel, Schubert, Schumann, Franz, Brahms, 
Strauss, Tschaikowsky, Rachmaninoff, Faure, Debussy, 
Duparc, Moziart, Biziet, Saint-Saens, Puccini, or Wagner. 



Pianoforte 

Applicants must play from memory a Threc'part 
Invention or a Prelude and Fugue from The Well' 
Tempered Clavichord of Bach; a Beethoven sonata, com- 
plete; two selections — one slow and one brilliant — from 
the works of Chopin or Schumann (preferably Chopin). 

Fortythree 



Accompanying 

Applicants shall demonstrate sufficient pianistic 
ability to play satisfactorily some of the more difficult 
studies of Cramer-Biilow, Clementi-Tausig, or C2;erny, 
Opus 740. In addition, special stress shall be laid upon 
the candidate's sight-reading powers and sense of musical 
values as shown by his ability to play with reasonable 
fluency either primo or secondo parts of such orchestral 
and chamber works arranged for four hands, as the ex" 
aminer may choose. The applicant shall moreover have 
a fair acquaintance either with some of the standard 
violin and cello works, or, if his preference lie in the direc' 
tion of vocal accompaniment, some knowledge of song 
literature. 

Organ 

The following should be submitted from memory: 
(a) Fugue or principal movement from a Sonata or Sym- 
phony (b) a trio and (c) a slow movement. 



Violin 

Applicants should have a precise knowledge of the 
positions and the change of positions, and a complete 
command of scales and the usual ways of bowing. They 
should be able to play selected studies from Kreut2,er,, 
Rode and Fiorillo, and one or more concertos from the 
works of the following composers: ,de Beriot, Viotti, 
Spohr, or Vieuxtemps. 



Viola 

Applicants must have some knowledge of the clefs, 
the positions, scales, arpeggios, and be acquainted with 
some of the standard violin studies such as those of Kreut- 
2;er; Kayser, Opus 55; or Campagnoli, 41 Caprices, 
Opus 22, which are especially written for the viola. 

Fortyfour 



Violoncello 

Applicants must be able to play satisfactorily all 
major and minor scales and arpeggios; also, a fast and 
a slow movement from a Bach Suite, from memory. They 
may choose for a second composition one movement of a 
concerto from the standard repertoire or one movement 
from a sonata for piano and violoncello, classical or 
modern. 

Harp 

There are no special requirements other than a 
physical adaptability to play the instrument (si2;e of 
hands, arms, thumbs, et cetera), and an elementary 
knowledge of music. 

Orchestra Instruments 

An applicant must have at least an elementary 
knowledge of music and be physically fitted for the instru' 
ment he desires to play. 

Composition 

Applicants must pass examinations in Ear-Training 
Harmony, and Counterpoint and Fugue. They must also 
submit examples of original work indicating that they 
possess genuine creative ability. 

Theory 

After having passed his examination in the major 
subject, the applicant must have a personal interview 
with the Head of the Theory Department and be tested 
in Eat'Training, and general musical knowledge. Assign- 
ments to classes in Solfege, Theory, Harmony, et cetera, 
will be made as a result of these examinations. 



Fortyfive 



ASSIGNMENT TO INSTRUCTORS 

Students are assigned to instructors in accordance 
with the recommendation of the Examiners. While re- 
quests for instruction with particular instructors will be 
given careful consideration, the right is reserved to make 
such assignments as seem to be for the best interests of 
the students. Instructors reserve to themselves the right 
of final acceptance or rejection. 



Forty six 



ENROLLMENT REQUIREMENTS 

On request, forms of application for admission will 
be sent to prospective candidates to be filled out by them 
and returned. 

The acceptance of an applicant is conditioned upon 
the passing of the entrance examination in the major 
subject. 

The application form, filled in, must be returned with 
a registration fee of $20. This will entitle the applicant 
to take the entrance examination at the time set by The 
Curtis Institute of Music. 

If the applicant is accepted as a student, this fee will 
be credited to the tuition for the first year. If full exemp' 
tion in tuition is granted, this fee will be returned. If 
partial exemption in tuition is granted, this fee will be 
deducted from the amount to be paid for the first year. 

If the applicant is not accepted, this fee will be re' 
tained by The Curtis Institute of Music, as a charge for 
the examination. 

An application made, may be cancelled upon request, 
not less than ten days in advance of examination date, in 
which case the registration fee will be returned. 

Requests for application blanks should be addressed 
to the Registrar. 

For the dates of the Entrance Examinations, see 
Page 51. 



Fortyseven 



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INDIVIDUAL CONTRIBUTIONS 



The following donors have generously offered to 
provide tuition fees for a few exceptionally gifted 
students : 

Mrs. Edward Bok . . . Two students of Pianoforte 

Mr. and Mrs. William Curtis Bok 

One student of Pianoforte 

Mr. and Mrs. Philip S. Collins 

One student of Violin 

Mrs. Cyrus H. K. Curtis . One student of Voice 

(In memory of her daughter, Eleanor Pillsbury Pennell) 

Mr. Cyrus H. K. Curtis 

One student of Trombone 

(In memory of his father, Cyrus Libbey Curtis) 

Mr. Josef Hofmann . . Two students of Pianoforte 

Mr. Carlos Salzedo 

One student of Composition for Harp 

Madame Marcella Sembrich 

One student of Voice 



Fortynine 



GENERAL INFORMATION 

Living Accommodations 

Upon request, rooming accommodations selected by 
the Counselor to the Student Body will be recommended 
to students, according to individual needs and means. 
Scale of rentals and any further details desired may be 
obtained from the Student Counselor. 

Practice Facilities 

For this purpose, the Institute has special studios 
equipped with Steinway pianos which may be used by 
students. 

Health Measures 

A physician has been appointed by the Institute 
to give immediate attention to students, in case of illness. 

Tea Room 

On week days, home-cooked luncheons are served, 
at cost. These luncheons form a pleasant break in the 
day. Students and members of the faculty sit at the 
same tables and come to know each other, thus bridging 
the gulf which too often separates student from teacher. 



Fifty 



CALENDAR 

FOR THE SCHOOL YEAR 1927-28 

Entrance Examinations 

Voice — Thursday, Friday and Saturday, September 22, 
23,24 

Pianoforte — Monday, Tuesday and Wednesday, Sep' 
tember 26, 27, 28 

Accompanying Friday, September 30 

Organ Wednesday, September 28 

Violin .... Wednesday and Thursday, September 28, 29 

Viola Thursday, September 29 

Violoncello Thursday, September 29 

Harp Friday, September 30 

Orchestral Instruments Friday, September 30 

Composition, Theory and Sol/ege .... September 24 to 30 

First Term Begins Monday, October 3, 1927 

First Term Ends Saturday, February 4, 1928 

Second Term Begins Monday, February 6, 1928 

Second Term Ends Saturday, June 2, 1928 

Holidays 

Thanksgiving Thursday, November 24, 1927 

Christmas Vacation . December 23'January 3 (both incl.) 
Washington's Birthday . . Wednesday, February 22, 1928 

Easter Vacation April 5 to 10, 1928 (both incl.) 

Memorial Day Wednesday, May 30, 1928 



Fiftyone 



THE CURTIS QUARTET 

The Curtis Quartet has been organised as an in' 
tegral part of The Curtis Institute of Music. It consists 
of the following members of the Faculty : Carl Flesch, 
first violin, Emanuel Zetlin, second violin, Louis Bailly, 
viola, and Felix Salmond, violoncello. 

In 1926-27, aside from its concerts for the students, 
the Curtis Quartet appeared in Philadelphia, New York, 
Washington, and Boston. 



Fiftytwo 



FACULTY RECITALS 

During the School Year 1926^27 the following 
recitals were given by members of the Faculty : 

November 5 . . Harriet van Emden Soprano 

November 10 . . Felix Salmond Violoncellist 

November 17 • • Benno Moiseivitsch Pianist 

December 1 . . Carl Flesch Violinist 

December 8 . . Carlos Salzedo Harpist 

December 15. .Curtis Quartet 

January 19 ... . Madame Charles Cahier . . . Contralto 

January 26 ... . Curtis Quartet (Foyer) 

February 9 . . . . Horatio Connell Baritone 

February 16 . . . Emanuel Zetlin Violinist 

February 23 . . . Louis Bailly Viola 

March 2 Frank Gittelson Violinist 

April' 10 Wanda Landowska Harpsichord 

April 12 Isabelle Vengerova Pianist 

April 13 Emilio de Gogorza Baritone 

April 27 MoRiz Rosenthal Pianist 

May 26 Josef Hofmann Pianist 



Fiftythree 



STUDENTS' CONCERTS 

Twenty 'nine Students' Concerts were given during 
the School Year 1926-27, with programs presented by- 
students in Pianoforte, Voice, Violin, Viola, Violoncello, 
Harp, Chamber Music, Orchestra, and Chorus. 

In the nine Students' Concerts devoted to Chamber 
Music, the following works were played: 

Beethoven . . . String Quartet in E minor. Op. 59, No. 2 
String Quartet in F minor. Op. 95 
String Quartet in A minor. Op. 132 
String Quartet in F minor. Op. 135 
Pianoforte Trio in C minor. Op. 1, No. 3 
Pianoforte Trio in B flat major. Op. 97 

Brahms String Quintet in G major. Op. Ill 

Pianoforte Quartet in A major. Op. 26 
String Sextet in G major. Op. 36 
Pianoforte Quartet in C minor. Op. 60 

Chausson .... "Chanson Perpetuelle" for Voice, Piano' 
forte, and String Quartet, Op. 37 
Concert for Pianoforte, Violin, and String 
Quartet in D major, Op. 21 

Debussy 1st String Quartet, in G minor, Op. 10 

Haydn String Quartet in D major. Op. 20, No. 4 

Jacobi, Fred. . String Quartet on Indian Themes 

LoEFFLER String Quartet in E minor (1917) 

Mozart String Quartet in D major (Kochel 575) 

Saint-Saens . . Septet for Pianoforte, Strings, and Trum- 
pet in E flat major, Op. 65 

Schubert. . . .Pianoforte Quintet in A major. Op. 114 

Schumann . . . Pianoforte Trio in D minor. Op. 63 

TscHAiKOwsKY . String Quartet in D major. Op. 11 
Pianoforte Trio in A minor. Op. 50 

ZiLCHER "Aus dem Hohelied Salomonis"; Varia- 

tions for two Voices, String Quartet, 
and Pianoforte, in E major. Op. 38 

Fiftyfour 



STUDENT- ORCHESTRA 
CONCERTS 

Several student orchestra concerts are given each 
year. The last of such concerts was given Sunday after' 
noon, April 24, 1927, in the Academy of Music, Leopold 
Stokowski and Arthur Rodzinski conducting. The fol- 
lowing was the program : 

Handel Overture in D minor 

(Leopold Sto}{ows\i, Conducting) 

Bach . Brandenburg Concerto No. 5 in D major 

for Violin, Flute, Piano and String 
Orchestra 

Jay Savitt, Violin (Student under Carl Flesch) 

Richard Townsend, Flute (Student under William M. Kincaid) 

Jeanne Behrend, Pianoforte (Student under Josef Hofmann) 

{Leopold Sto\ows}{i, Conducting) 

Brahms Final Movement from Symphony in C 

minor, No. 1 
(Arthur Rx)dzins}{i, Conducting) 

Verdi "Credo"'"' from "Otello"" ] 

Massenet "Vision Fugitive" from ? for Baritone 

"Herodiade" ) 

Benjamin Groban (Student under Madame Cahier) 
(Arthur Rodzins\i, Conducing) 

Borodin Polovtsian Dances from "Prince Igor"'"' 

(Leopold Sto\ows\i, Conducting) 



Fiftyfive 



LIST OF STUDENTS 
192&1927 

Adohmyan, Lahn* Philadelphia 

AiTKEN, Webster Los Angeles, California 

Albling, Sadie E Portland, Maine 

Amansky, Selma C Baltimore, Maryland 

Aronoff, Max Philadelphia 

Baker, Rita M Philadelphia 

Barabini, Olga New York City 

Barber, Samuel O West Chester, Pennsylvania 

Barker, Eleanor W.* Philadelphia 

Barringer, Elizabeth* Philadelphia 

Baskin, S. Matilda Drifton, Pennsylvania 

Behrend, Jeanne Philadelphia 

Belcher, Louise A Philadelphia 

Benner, William N San Diego, California 

Berkowitz, Rosela S Philadelphia 

Berman, Grace Detroit, Michigan 

Berthold, Edward G.* East Orange, New Jersey 

Betelle, Helen Roanoke, Virginia 

Bethel, Lucille Newark, New Jersey 

Binder, Rose Newark, New Jersey 

BiNZ, Ralph E Philadelphia 

Bitter, John F New York City 

Blankenship, Marion G Lancaster, Pennsylvania 

Bleil, Regina R.* Pittsburgh, Pennsylvania 

Bly, Edith W Philadelphia 

Boehm, Alberta Kansas City, Missouri 

BoRKEY, Florence R Tamaqua, Pennsylvania 

Boyington, Alfred M Kansas City, Missouri 

Braun, Edith E Merion, Pennsylvania 

Braverman, Bella Philadelphia 

Briselli, Iso Berlin, Germany 

Brock, Anne B Philadelphia 

BuRNwooD, George B Philadelphia 

Caddell, Marjorie J Brooklyn, New York 

Cameron, Richard J Philadelphia 

Cameron, William T Providence, Rhode Island 

Cardin, Fred Miami, Oklahoma 

Carettnay, Illa Philadelphia 

Carlson, Marie L Devils Lake, North Dakota 

Carmi, Miriam Petah-Tickwah, Palestine 

Carpenter, James McF., Jr.* Haverford, PAinsylvania 

Vijtysix 



Cassini, Leonard London, England 

Challenger, Edward P., 2nd New Castle, Delaware 

Chase, Mildred* Syracuse, New York 

Chasins, Abram New York City 

Chasins, Ethel New York City 

Chazin, Joseph* Philadelphia 

Cheesman, L. Virginia Philadelphia 

Cherkassky, Shura Odessa, Russia 

Cole, Orlando T Philadelphia 

Colley, Christine Dayton, Ohio 

CoNANT, Katherine L Bridgewater, Massachusetts 

Conn, Sherman* Pittsburgh, Pennsylvania 

Couch, Marion G.* Greenville, South Carolina 

CoYE, John S Wilmington, Delaware 

CuRRAN, Robert E Auburn, New York 

D'Andrea, Mary H Pleasantville, New Jersey 

Daugherty, Eleanor Oil City, Pennsylvania 

Deak, Stephen Philadelphia 

de Blasiis, Martha J Glens Falls, New York 

de Blasiis, A. Virginia Glens Falls, New York 

Deibert, Dorothy N Fort Sill, Oklahoma 

Demarest, Charles N Madison, Wisconsin 

de Schauensee, Max Philadelphia 

Diaz, Antonio B Mexico City, Mexico 

Eastman, Mary B Los Angeles, California 

Elman, Esther New York City 

Elman, Liza New York City 

Elson, Joseph* Chicago, Illinois 

Evans, Wilbur W Philadelphia 

Fahringer, Mary E.* Audenried, Pennsylvania 

Farny, Lionel M.* Allentown, Pennsylvania 

Ferguson, Paull F Robinson, Illinois 

Ferguson, Tirzah G Minneapolis, Minnesota 

Fields, Eleanor L Norristown, Pennsylvania 

Fink, Mary M Baltimore, Maryland 

FiscHOFF, Joseph South Bend, Indiana 

Fisher, Florence Toledo, Ohio 

FiTTS, Logan Merchantville, New Jersey 

Forbes, Mildred W Philadelphia 

Frantz, Florence Baltimore, Maryland 

Freed, David Philadelphia 

Freedman, Sarah* Philadelphia 

Friedman, Theodore J Philadelphia 

Fulda, Boris Moscow, Russia 

Fiftyseven 



Gardiner, Virginia Kingston, New York 

Garratt, Harold V Philadelphia 

Geer, Ella L Charleston, Illinois 

Germer, Meredith J.* Harrisburg, Pennsylvania 

Gershman, Paul Vineland, New Jersey 

Gesensway, Louis Toronto, Canada 

GiACOBBE, Stellario* Philadelphia 

Gilbert, Gama Philadelphia 

GiNSBURG, Kathryn Los Angeles, California 

Goddard, Eleanor Swarthmore, Pennsylvania 

Gold, Hinda Toronto, Canada 

GouGH, Frank, Jr Lumberton, North Carolina 

Gray, Alexander Providence, Rhode Island 

Gray, John Providence, Rhode Island 

Green, Sylvia Trenton, New Jersey 

Greenberg, Albert A Philadelphia 

Gregg, Frances Y Urbana, Ohio 

Gregory, Euphemia M Philadelphia 

Groban, Benjamin Grand Rapids, Michigan 

Halbwachs, Martha L New York City 

Hall, Helen Dallas, Texas 

Harcum, Edith Bryn Mawr, Pennsylvania 

Hardison, William, Jr.* Morrellton, Arkansas 

Hare, Esther B Caldwell, Idaho 

Harman, Marian S Bloomsburg, Pennsylvania 

Harms, William H Ottawa, Kansas 

Headman, F. Melvin Philadelphia 

Healy, Daniel L Framingham, Massachusetts 

Henderson, Charles, Jr Lansdowne, Pennsylvania 

Hepler, Emily S Ventnor, New Jersey 

HiCE, Arthur E Philadelphia 

Hochstetter, Edna Philadelphia 

Hodge, Dorothy F Philadelphia 

Hodge, Muriel B Philadelphia 

Hoffman, Wilhelmina D Parma, Idaho 

Hooper, Carl V Mapelton, Pennsylvania 

Horle, Henriette Philadelphia 

Hubbard, Blanche* Philadelphia 

Irons, Florence E Burlington, New Jersey 

Jepson, Helen E Akron, Ohio 

JiRAK, Josephine A Kansas City, Kansas 

Johnson, Lacy Philadelphia 

Johnson, Russell Philadelphia 

Jones, Francis E Schenectady, New York 

JuRCiuKONis, JuozAS Philadelphia 

JusKO, Ralph V Worcester, Massachusetts 

Fiftyeight 



Kagan, Pescha Washington, Pennsylvania 

Kahn, Gordon G Philadelphia 

Kaplan, Tillie Portland, Maine 

Kaplan, Vilma Baltimore, Maryland 

Kattman, Evelyn A.* Canton, Ohio 

Kaufman, Harry Philadelphia 

Kimmel, Lewis H Carlisle, Pennsylvania 

Klass, Harry Sydney, AustraHa 

Knitzer, Joseph New York City 

KoRN, Alice D Ambler, Pennsylvania 

KowALSKA, Sabina W Wilmington, Delaware 

Krainis, Abraham Coney Island, New York 

Krinsky, Yvonne Newark, New Jersey 

Lamas, Eugene Brooklyn, New York 

Lamb, Lillian A Portland, Maine 

Lazzaro, Alfio Philadelphia 

Lebow, Paul Baltimore, Maryland 

Lee, Warren L Philadelphia 

Lenrow, Elbert New York City 

Levine, Joseph S Philadelphia 

Lewis, Eleanor J St. Albans, Vermont 

LocKHART, Dorothy Philadelphia 

Lock WOOD, Ross Duquesne, Pennsylvania 

LucHS, Selma B Philadelphia 

Maker, Rosamund E Philadelphia 

Mapes, Gordon M Binghamton, New York 

Marzyck, Mary A Denver, Colorado 

Matison, Lily Santa Monica, California 

Mayers, Bernard L Philadelphia 

McGiNNis, Robert E Wyncote, Pennsylvania 

Meiskey, Elsa Lancaster, Pennsylvania 

Mitchell, Ercelle Baltimore, Maryland 

MoLiND, Aaron Philadelphia 

Moll, David* Chicago, Illinois 

Montgomery, Bessie Wynnewood, Pennsylvania 

Montgomery, Mary B Villa Nova, Pennsylvania 

Moody, Katharine Indianola, Mississippi 

MooRE, Dorothy Columbus, Ohio 

Morales, Angelica M Mexico City, Mexico 

Morgan, Catharine Norristown, Pennsylvania 

MoRRisETT, James S Winston-Salem, North Carolina 

MoRSEMAN, Florence SedaHa, Missouri 

MuNRO, LuciLE Philadelphia 

Murdock, Victoria M Wichita, Kansas 

Fiftynine 



Nazarevitch, Xenia New York City 

Nichols, Alice* Wilmington, Delaware 

Otterstein, Adolph W Denver, Colorado 

Oyen, Esther D Seattle, Washington 

Oyen, Penelope Seattle, Washington 

Page, Marion S.* North Fargo, North Dakota 

Paget, Ethel M Philadelphia 

Parker, Madge H Toronto, Canada 

Perry, Dorothy I Hillsboro, Illinois 

Petraitis, Peter V Homestead, Pennsylvania 

Pettit, Harlan C* Pittsburg, Kansas 

Phillips, Edna M Wyomissing Hills, Pennsylvania 

Pickens, Jane Atlanta, Georgia 

Pierce, Dorothy E Philadelphia 

Polisi, William Philadelphia 

Pollard, Elizabeth G Swarthmore, Pennsylvania 

PoLVOGT, Esther L Baltimore, Maryland 

PosKA, Judith Seattle, Washington 

PoTAMKiN, Frank J Philadelphia 

Power, Dorothy B.* Philadelphia 

zu PuTLiTZ, Lois V Los Angeles, California 

Pyle, Ella W Wilmington, Delaware 

Raphael, Bernard Philadelphia 

Reardon, Casper A Schenectady, New York 

Reatha, Reva Detroit, Michigan 

Reeves, Mary C Wausau, Wisconsin 

Reilly, Josephine P Philadelphia 

Reinert, Clarence W Allentown, Pennsylvania 

Reinhardt, Donald S Llanerch Manor, Pennsylvania 

Reinhardt, Louise Wilmington, Delaware 

Resnikoff, Vera Odessa, Russia 

Reynolds, Llewellyn S.* Washington, D. C. 

Richardson, John B Philadelphia 

Rizzo, David J Philadelphia 

Roberts, Elizabeth R.* Philadelphia 

Roberts, Eloise A Philadelphia 

Robinson, Carl R Louisville, Kentucky 

Rogers, Edith M Newburyport, Massachusetts 

RoLiN, Mary C Strafford, Pennsylvania 

Rose, Kathryn V BrookUne, Pennsylvania 

RuBANOFF, Joseph R Philadelphia 

RuHRSEiTZ, Esther B Sweden 

Ryan, William K,* Haverford, Pennsylvania 



Sixty 



Savitt, Jay Philadelphia 

Scales, Catherine B Philadelphia 

ScHiOLER, EiLER T Copenhagen, Denmark 

Schwartz, Frank J Philadelphia 

Seenofsky, Max* Philadelphia 

Seiger, Suzanne Pittsburgh, Pennsylvania 

Shanklin, Margaret E Wichita, Kansas 

Sharlip, Benjamin Philadelphia 

Sharp, Marion Salt Lake City, Utah 

Sharp, Maurice O Sheridan, Wyoming 

Shefter, Abram* Philadelphia 

Sheridan, Frances E New Castle, Delaware 

Shields, Miriam N Denver, Colorado 

SiEGEL, Adrian* New York City 

Simons, Charlotte Chicago, Illinois 

Singer, Jacques Jersey City, New Jersey 

Sister Regina Dolores Philadelphia 

Skillington, Susan V Altoona, Pennsylvania 

Snyder, Sophia Pittsburgh, Pennsylvania 

Snyder, Thelma H Harrisburg, Pennsylvania 

SoLOviEFF, David Philadelphia 

Stacey, Aletha G Wellington, Ohio 

Stackhouse, R. Elizabeth Bloomsburg, Pennsylvania 

Standing, Georgia V Salt Lake City, Utah 

Stern, Lucie Riga, Latvia 

Stetler, Floraine a Detroit, Michigan 

Stevens, Margaret Collingswood, New Jersey 

Stratton, Charles W Manhattan, Kansas 

Straub, Virginia M Lancaster, Pennsylvania 

Swartz, Beatrice S.* Baltimore, Maryland 

Taylor, Florine Lynchburg, Virginia 

Temianka, Henry Antwerp, Belgium 

Thorp, Carl W., Jr Cleveland, Ohio 

Tolces, Toska New York City 

TowNSEND, Richard E Philadelphia 

TowNSEND, Winifred Philadelphia 

Tracy, Gerald B Portsmouth, Virginia 

Trafficante, Elisabeth Philadelphia 

Tucker, Gregory H Philadelphia 

Tyson, Evelyn* Jenkintown, Pennsylvania 

Ullberg, Lloyd E Oakland, California 

Unger, William R Pittsburgh, Pennsylvania 

Urbanek, Caroline V Lowell, Massachusetts 

Van Buskirk, S. Elizabeth Pottstown, Pennsylvania 

Varallo, John J Philadelphia 



Sixtyone 



VioHL, Herbert K Wilmington, Delaware 

ViOHL, Walter C Wilmington, Delaware 

Waite, Grace E.* Glenolden, Pennsylvania 

Walker, Louise P Ottawa, Kansas 

Wallen, Hobart L.* San Diego, California 

Walstrum, Theodore P Ridgewood, New Jersey 

Watson, Mary E Kansas City, Missouri 

Wegmann, Cecile D Yonkers, New York 

Whitley, Hazel Detroit, Michigan 

Whitmer, Rachel P Philadelphia 

WiGHTMAN, Florence Philadelphia 

Wilkinson, James M Baltimore, Maryland 

Williams, Florence Allentown, Pennsylvania 

Wills, Helen J Newport News, Virginia 

Wisdom, Leon B Pittsburgh, Pennsylvania 

Wolf, Jennie Philadelphia 

Woods, Edna B Rye, New York 

Wyner, Louis Atlantic City, New Jersey 

Yaeckel, Louis W Hollywood, California 

Zimmerman, Oscar G Philadelphia 

Zollette, Sandro S Philadelphia 



"Withdrawing before the close of the year. 



Sixty'two 



INDEX 

Page 

Accompanists 31 

Accompanying 18 

Ancient Music 36 

Assignment to Instructors 46 

Biographical Notes — Bailly, Louis 25 

Farnam, Lynnwood 21 

Flesch, Carl 23 

Gogor2,a, Emilio de 17 

Hofmann, Josef 19 

Luboshutz, Lea 24 

Morris, Reginald 32 

Rodzinski, Arthur 30 

Rosenthal, Moriz 20 

Salmond, Felix , 26 

Salzedo, Carlos 27 

Scalero, Rosario 33 

Sembrich, Marcella 16 

Buildings 12 

Calendar 51 

Coaching 15 

Comparative Arts — Course 35, 36 

Lecturers 34 

Concert Hall 13 

Concerts — Students' 54 

Student 'Orchestra 55 

Curtis Quartet 52 

Departments — Academic 37, 38 

Chamber Music 22 

Harp 22 

Orchestra 28 

Organ 18 

Pianoforte 18 

Theory and Composition 31 

Viola 22 

Violin 22 

Violoncello 22 

Voice 15 

Sixtythree 



Page 

Diction 15 

Enrollment Requirements 47 

Equipment 12 

Eurhythmies 15 

Executive Staff 11 

Faculty — Academic 37, 38 

Musical 14, 15, 18, 22, 28, 31 

Faculty Recitals 53 

General Information 50 

Heads of Departments 14 

Individual Contributions 49 

Library 12 

List of Students 56, 57, 58, 59, 60, 61, 62 

Location 12 

Offer to Students 7 

Officers 10 

Operatic Acting 15 

Orchestra Classes 29 

Orchestra Instruments, Courses in 29 

Plan of Studies 40, 41, 42 

Purpose 5 

Requirements for Entrance Examinations 43, 44, 45 

Secondary Piano 18 

Stage Deportment 15 

Studies 39 

Tuition Fees 48 



Sixtyfour 






^'^A^iV,^ 



v:/-:n>c 



THE CURTIS INSTITUTE 
OF MUSIC 

PHILADELPHIA 
1927 1928 



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if'' 



The Curtis Institute 
of Music 

Endowed 

By MARY LOUISE CURTIS BOK 



CATALOGUE 

1927-1928 



Second Edition 



RITTENHOUSE SQUARE 
PHILADELPHIA PENNSYLVANIA 



The Curtis Institute of Music 

WAS CREATED, IN 1924, 
UNDER AN ENDOWMENT 

By Mary Louise Curtis Bok 

AND IS OPERATED UNDER A CHARTER OF 
THE COMMONWEALTH OF PENNSYLVANIA 



PURPOSE 

TO HAND DOWN THROUGH CONTEMPORARY 

MASTERS THE GREAT TRADITIONS 

OF THE PAST. 

TO TEACH STUDENTS TO BUILD 

ON THIS HERITAGE FOR 

THE FUTURE. 



Five 



The Curtis Institute of Music 
Offers To Students: 

Instruction by world famous artists who teach person' 
ally and give individual lessons. 

Free tuition, or partial exemption from tuition fees, 
where required. 

Financial aid, if needed. 

Steinway Grands, string and wind instruments rent 
free, to those unable to provide such for themselves. 
These Steinway pianos will be placed at the disposal 
of students in their respective domiciles. 

Opportunities to attend concerts of the Philadelphia 
Orchestra and of important visiting artists, also per- 
formances of the MetropoHtan Opera Company — as 
part of musical education. 

Summer sojourns in the United States and Europe, to 
advanced and exceptionally gifted students, under 
artistic supervision of their respective master teachers 
of the Curtis Institute. 

Regular public appearances during the period of their 
studies, when warranted by their progress, so that they 
may gain practical stage experience. 

In addition to development of the student to full artistic 
maturity, financial assistance in setting out on a public 
career. 



Seven 



Director 

Josef Hofmann 



J^ine 



OFFICERS 



President 
Mrs. Mary Louise Curtis Bok 

Vice President 
Philip S. Collins 

Secretary and Treasurer 
William Curtis Bok 

Board of Directors 

Mrs. Mary Louise Curtis Bok 
William Curtis Bok 

Philip S. Collins 
Cyrus H. K. Curtis 
Mrs. Samuel S. Fels 



Ten 



EXECUTIVE STAFF 



Director 
Josef Hofmann 

Assistant to the Director 
David Saperton 

Dean 
Grace H. Spofford 

Assistant to the Dean 
Elizabeth Swenson 

Counselor to the Student Body 
Emily L. McCallip 

Comptroller 
H. W. Eastman 



Elei 



LOCATION 

The Curtis Institute of Music, facing the green of 
Rittenhouse Square, is in the heart of the best residential 
section of Philadelphia. It is within four blocks of the 
Academy of Music where the symphony concerts of the 
Philadelphia Orchestra, the concerts of important visit- 
ing artists and the performances of the Metropolitan 
Opera Company of New York are given. 

BUILDINGS 

The buildings comprise three beautiful private resi- 
dences which have been remodeled; yet there has been 
retained their original homelike atmosphere. 

EQUIPMENT 

The equipment and furnishings combine both 
beauty and utiHty. 

LIBRARY 

The library is extensive and of wide scope, embrac 
ing over 5,000 volumes — books, music and scores. It in- 
eludes many original and unedited editions of music of 
the great masters. 



Twelve 



^.^^^?=^ 



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'n*^ 



















. OB ^ "I i . ' 






Wi 



\»-^ . 5 










"^^ 



THE NEW CONCERT HALL 

The new concert hall now building, will be 
completed by October 1, 1927. The plans call for a 
room 70 feet long, 35 feet wide, and 22 feet high, with a 
seating capacity of approximately 350. All the resources 
of modern research are being used to make it acoustically 
perfect, and soundproof against street noises. 

Architecturally it will correspond to the Institute 
Main Building, of which it is an integral part. 

The illumination will be effected by indirect light' 
ing concealed behind the upper moulding all around the 
hall. The interior walls are to be wood'paneled up to 
the ceiling. 

There will be a luxuriously appointed and easily 
accessible artists room adjoining the stage. 

To facilitate placing of pianos on the stage, a 
proscenium elevator has been devised which allows a 
section of the stage to descend to the basement where 
pianos can be stored. 

Two organs, a four'manual Aeolian pipe organ 
and a threc'manual practice organ are being installed 
which will enable the Institute to give courses in that 
instrument. 

In this new hall, the students will be given the 
opportunity of acquiring experience in students concerts 
under conditions equaling those under which they will 
appear in professional life. 



Thirteen 



HEADS OF DEPARTMENTS 

The various Departments of The Curtis Institute of 
Music are under the personal direction and supervision 
of the following members of its Faculty: 

Marcella Sembrich Voice 

Josef Hofmann Pianoforte 

Lynnwood Farnam Organ 

Carl Flesch Violin 

Louis Bailly Viola and Chamber lAusic 

Felix Salmond Violoncello 

Carlos Salzedo Harp 

Arthur Rodzinski Orchestra 

Reginald O. Morris . Theory and Composition 

These artists, in each instance, in addition to their 
duties as Heads of Departments, instruct students per- 
sonally. 



Fourteen 



DEPARTMENT OF VOICE 

Marcella Sembrich, Head of Department 

InstruLCtors 

Marcella Sembrich 

Harriet van Emden 

Emilio de Gogorza 

Horatio Connell 

Coaching and Repertoire 

Richard Hageman 

Arthur Rodzinski 

Dagmar Rybner Barclay 

Diction 

Marie Emma Bourdin^Bacher 
Jean B. Beck 

EUPHEMIA GlANNINI GrEGORY 

Samuel Arthur King 
, Minna Saumelle 
domenico vlttorini 
Hermann J. Weigand 

Operatic Acting and Stage Deportment 

WiLHELM VON WyMETAL 

eurhythmics 
Placide de Montoliu 



Fifteen 



MARCELLA SEMBRICH 

Marcella Sembrich Kochanska, who was destined 
to become one of the world's greatest operatic sopranos, 
was born in Lemberg, Poland. She adopted her mother's 
maiden name of Sembrich to serve her professional career. 
Her first musical instruction was received from her 
father in piano and violin. At the age of twelve she 
appeared in piano and violin recitals, and she continued 
her study of these instruments with Guillaume Stengel 
in the Lemberg Conservatory. When she was sixteen 
years old, Marcella was sent to Vienna to perfect her 
musical and pianistic training under Julius Epstein, and 
it was here that her great possibilities as a singer were 
discovered. The girl was then sent to study voice with 
Lamperti in Milan. 

Her debut as singer was made in Athens in 1877, 
and success in opera came swiftly. Engagements in 
London, Paris, Dresden, Berlin, St. Petersburg, Vienna 
and Madrid followed in quick succession, and in 1883 
Madame Sembrich was engaged as leading soprano at 
the Metropolitan Opera, and made her debut as Lucia. 
Concert tours and operatic engagements in Europe 
alternated with her visits to America, and from 1902 
to 1909 she was continually engaged by the Metropolitan 
Opera Company. After retiring from operatic and con' 
cert work, Madame Sembrich devoted herself to teaching 
and has since developed such singers as Jeritzia, Dusolina 
Giannini, Hulda Lashanska and Queena Mario. 



Sixteen 




Photograph by M. I. Boris, >(. T. 



Marcella Sembrich 
Head and Instructor, Voice Department 




Emilio de Gogorza 
Instructor, Voice 



EMILIO DE GOGORZA 

Spain, France and England have all shared in the 
musical endowment bestowed on this artist, who was 
born in 1874 of Spanish- American parents, in Brooklyn, 
New York, first undertook singing as a serious study in 
England, and first appeared in concerts in France. Emilio 
de Gogorzia traveled with his parents as a child and it 
was in London that he became a favorite as a boy 
soloist in churches and school choirs. He completed his 
studies at the Ecole Monge and Lycee Louis-le-Grand 
in Paris, France. 

De Gogor?a returned to America for his first serious 
instruction, his teachers being Moderati and Agramonte 
in New York. A visit to Paris resulted in his continuing 
his studies with Emile Bourgeois, singing master of the 
Opera Comique. In 1897 de Gogorza was first heard in 
a concert in New York with Marcella Sembrich. From 
that date his appearances have been continuous in re- 
citals and with the leading orchestras in the United 
States and Europe. 

With an unusual gift for languages, Emilio de 
Gogor^a has been able to enrich his programs with the 
rarely heard songs and folk music of many races. He has 
cultivated in his audiences a taste and appreciation for 
the songs of the younger French composers, for Russian 
folk songs, and has revealed a new world of Spanish art 
song in the melodies of Andalusia, Catalonia, and the 
country of the Basques. 



Seventeen 



DEPARTMENT OF PIANOFORTE 

Josef Hofmann, Head of Department 

Division of Piano Solo 

Josef Hofmann, Head of Division 

Instructors 

Josef Hofmann 

MoRiz Rosenthal 

ISABELLE VeNGEROVA 

David Saperton 

Division of Accompanying 

Harry Kaufman, Head of Division and Instructor 

Division of Secondary Piano 

Abram Chasins, Head of Division 

Instructors 

Abram Chasins 

Ethel S. Drummond 

and others, drawn from the student 

body of the Institute. 

DEPARTMENT OF ORGAN 

Lynnwood Farnam, Head of Department and Instructor 



Eighteen 




Photograph b\ Strauss-Peyton 



Josef Hofmann 

Director of the Institute 
Head and Instructor, Pianoforte Department 



JOSEF HOFMANN 

A musical lineage that embraced on his father's 
side a piano teacher, pianist^composer and orchestra 
leader, and on his mother's a noted soprano of the 
Cracow Municipal Opera, furnished the background 
for the youthful genius, Josef Hofmann. He was born 
in 1876 and began to study music before the age of four, 
his first teacher being his sister. A year later Hofmann 
senior undertook the boy's musical training. 

Josef Hofmann made his first public appearance in 
a town near Warsaw when he was five years old. Other 
concerts followed in the leading cities of Poland, and 
when he was eight, he was heard by Anton Rubinstein, 
who predicted a career of exceptional brilliance for the 
youthful prodigy. 

At the age of nine, his first European tour was ar^ 
ranged and the boy was heard in Germany, France, 
England and Scandinavia. Soon after, in 1887, he ap' 
peared for the first time in the United States, giving 
forty concerts. The remarkable playing of the eleven^ 
year old boy so aroused the enthusiasm of Alfred Corning 
Clark of New York that he generously offered to provide 
his father with the necessary means to further his musical 
education and artistic growth, whereupon the boy return^ 
ed to Europe to study music in Berlin. Four years later 
he became the only private pupil of Anton Rubinstein. 

In 1894, then eighteen years old, Hofmann returned 
to the concert platform. He toured Germany and 
England, and in 1896 made his Russian debut. Two 
years later he returned for a tour of the United States, 
and has since been constantly before the public as con- 
cert pianist and composer. For the last twenty-one 
years Mr. Hofmann has made his home in the United 
States and has become an American citizen. 

Hofmann's compositions are numerous. His or- 
chestra works have been performed in the United States 
and Europe by Nikisch, Schuch, Safonoff, Stokowski, 
Zach, Gabrilowitsch, Damrosch, and Stock. 

T^ineteen 



MORIZ ROSENTHAL 

A heritage derived from years of actual contact 
with men whose names belong to musical history gives 
Moriz; Rosenthal a unique position among present'day 
pianists. Mikuli, Rafael Joseffy and Liszt shared inti' 
mately in the formation and development of his musical 
and pianistic gifts. Born in Lemberg, Poland, in 1862, 
Moriz; Rosenthal began his studies at the age of seven 
with Galath. His work soon attracted the attention of 
Carl Mikuli, director of the Lemberg Conservatory and 
former pupil of Chopin. Playing on two pianos with 
Mikuli he made his first public appearance at the age 
of ten. 

Rafael Joseffy undertook Rosenthal's instruction in 
1875, and following his tour of Roumania, the Queen 
conferred upon the fourteen'year old boy the title of 
court pianist at Bucharest. A few months later he was 
taken as a private pupil by Franz Liszt with whom he 
studied both in Weimar and in Rome until the master's 
death in 1886. From that time on, concert tours have 
taken Rosenthal to Paris, Berlin, London, St. Petersburg, 
Madrid, Lisbon, Rome — the principal cities of Europe, 
as well as America which he has visited eight times. 
In 1880 Rosenthal laid aside his public career for a period 
of three years to engage in the study of philosophy at 
the University of Vienna. In 1912 he was appointed 
Court Pianist by Franz Josef I, then Emperor of Austria. 

Rosenthal was the first to recognize the virtuoso 
possibilities of the Johann Strauss waltzes, and his para' 
phrases of these waltzes are among his most brilliant 
compositions. 



Twenty 




Photograph b> Mishi(i7i 



MoRiz Rosenthal 
Instructor, Pianoforte 




Photograph by Drix Duryea 

Lynnwood Farnam 
Head and Instructor, Organ Department 



LYNNWOOD FARNAM 

Barn at Sutton in the Province of Quebec in 1885, 
Lynnwood Farnam, organist, began his musical studies as 
a pianist in Dunham, where, at the age of fifteen, he won 
the Montreal Music Scholarship. This scholarship, con^ 
tributed by Lord Strathcona and Lord Mount Stephen, 
made possible his four years of study at the Royal 
College of Music in London. His teachers were Franklin 
Taylor and Herbert Sharpe for piano, and Dr. James 
Higgs, F. A. Sewell, and W. S. Hoyte for organ. 

The organ won young Farnam's preference, and to 
this he devoted his cliief interest. Returning to Canada 
in 1904, Mr. Farnam received his first appointment as 
church organist in Montreal, soon becoming organist of 
Christ Church Cathedral. He gave up this post in 1913 
to accept a call to Emmanuel Church in Boston. The 
war interrupted his musical career, but after his dis- 
charge he returned to the United States. 

He was engaged as organist by the Fifth Avenue 
Presbyterian Church, New York City, during 1919'20, 
and since that date has been organist of the Church of 
the Holy Communion in New York. Mr. Farnam has 
had an extensive concert career, having appeared as 
soloist with the Society of the Friends of Music, New 
York, at the Coolidge Foundation Festival of Chamber 
Music in Washington, the Cincinnati Music Festival, 
and on other notable occasions. He has given public 
performances at York Minster, Bath Abbey, the Cathe' 
drals of Westminster, Southwark, Exeter, and Christ 
Church, Oxford, in England, and in the American 
Cathedral in Paris and at the Church of St. Guen in 
Rouen, France. 



Twentyone 



DEPARTMENT OF VIOLIN 

Carl Flesch, Head of Department 

Instructors 

Carl Flesch 

Richard Hartzer, Assistant 

Lea Luboshutz 

Emanuel Zetlin 

DEPARTMENTS OF VIOLA AND 
CHAMBER MUSIC 

Louis Bailly, Head of Departments and Instructor 

DEPARTMENT OF VIOLONCELLO 

Felix Salmond, Head of Department and Instructor 

DEPARTMENT OF HARP 

Carlos Salzedo, Head of Department 

Instructors 

Carlos Salzedo 

Florence Wightman, Assistant 



Twenty-two 




Photograph by Kubey-Remhrandt 

Carl Flesch 
Head and Instructor, Violin Department 



CARL FLESCH 

The influence of the Vienna and Paris schools of 
violin pedagogy have combined to develop in the person 
of Carl Flesch one of the most prominent of present'day 
violinists who is also distinguished as a teacher. Born 
in Hungary in 1873, Carl Flesch began his study of the 
violin under Griin at the Vienna Conservatory when he 
was six years old. At the age of ten he became a pupil 
of Sauzay at the Paris Conservatory, and later of Marsick, 
whose influence especially, moulded his development. 
In 1894 the young student received the first prize of the 
Paris Conservatory by unanimous decision. 

Mr. Flesch was appointed professor of violin at the 
Royal Academy in Bucharest in 1896 and became also 
first violin in the Quartet at the court of the Queen of 
Roumania. An appointment as professor of violin at 
the Amsterdam Conservatory followed, and in 1921 he 
was named director of special courses in the State School 
of Music in Berlin. Here he organizied a trio with Hugo 
Becker and Arthur Schnabel. 

Carl Flesch is author of the "Art of Violin Playing," 
acknowledged one of the most complete and authorita^ 
tive works on the subject. He has published a volume of 
"First Studies," edited Kreutzer's Studies, and "Twenty 
Studies from Paganini." With Schnabel he edited 
Mozart's Violin Sonatas. Carl Flesch has frequently 
appeared in the United States in violin recitals, as soloist 
with symphony orchestras, and in leading chamber music 
concerts. 



Twentythree 



LEA LUBOSHUT2 

Born in Odessa, Lea Luboshutzi began her concert 
career as a violinist at the age of six. It was upon 
the advice and insistence of Vassily Safonoff, noted 
Russian conductor, that she pursued her studies at the 
Moscow Conservatory. There she received a gold medal 
for exceptional accomplishment and at the age of sixteen 
was heard in concerts in Poland, Germany and France. 
She appeared with the leading orchestras, including those 
conducted by Safonoff and Arthur Nikisch. 

Her first appearance in America was as soloist with 
the Russian Symphony Orchestra conducted by Alt' 
schuler. An extensive tour of Russia and other European 
countries followed, when she gave more than one hundred 
recitals. Madame Luboshutz then studied for three 
years with Eugene Ysaye, becoming one of his most 
brilliant pupils. Since then she has appeared extensively 
in concerts in the United States and abroad. She has 
been soloist with the Berlin Philharmonic Orchestra, the 
Pasdeloup Orchestra in Paris, and has played before the 
King and Queen of Belgium. Madame Luboshutz re' 
turned to America a few years ago as soloist with the 
State Symphony of New York. She has since been 
heard as soloist with the leading symphony orchestras 
in this country. 



Twentyfour 




Photograph by Mishijin 



Lea Luboshutz 
Instructor, Violin 




Photograph by Kubey-Rembrandt 

Louis Bailly 
Head and Instructor, Viola and Chamber Music Departments 



LOUIS BAILLY 

A native of Valenciennes, France, born in 1882, 
Louis Bailly devoted the first three years of his musical 
studies in Paris, from 1895 to 1898, to the violin, then 
transferring his allegiance to the viola. At the close of 
one year's study of viola, he headed the list of prizie 
v;7inners at the Paris Conservatory. Thereafter he was 
heard as soloist at the Concerts Colonne, the Opera 
Comique, the Grand Opera, and the Societe des Concerts 
du Conservatoire. He was one of the original members 
of the Capet Quartet, remaining with this organization 
for seven years, and then joined the Geloso Quartet 
until its disbanding at the outbreak of the war. With 
these organiziations he had appeared both as soloist and 
in ensemble in France, England, Germany, before the 
Royal court of Rome, and in Belgium, Switzerland and 
Holland. In 1917 Mr. Bailly obtained a special release 
from military duty to join the Flonzaley Quartet in 
New York. With Harold Bauer at the piano he gave 
the first performance of Ernest Bloch's Suite for Viola 
and Piano at the Pittsfield Festival in 1919. Mr. Bailly 
has been soloist with the Philadelphia Orchestra, with 
the National Symphony in New York under Bodanzky, 
with the Friends of Music, New York City. He is a 
Cavalier of the Order of the Crown of Roumania (1925) 
and for eight years was a member of the Jury of the Paris 
Conservatory. 



Twentyfive 



FELIX SALMOND 

A musical endowment was the birthright of this 
violoncellist, his father being Norman Salmond, cele- 
brated English bass'baritone, and his mother a pro' 
fessional pianist. Felix Salmond was bom in London 
in 1888. His early gifts matured under the tutelage of 
Professor W. E. Whitehouse of the Royal College of 
Music in London, where at the end of three years 
young Salmond won a scholarship which he retained 
for a period of four years. He then continued his studies 
in Brussels with Edouard Jacobs. 

Mr. Salmond made his debut in London in 1919, 
and thereafter appeared in concerts throughout Great 
Britain. He was invited by Sir Edward Elgar to appear 
as soloist in the premiere of that composer's Concerto 
for Violoncello and Orchestra, played by the London 
Symphony. In 1921 he made his debut on the Continent 
in a recital in Amsterdam after devoting two seasons to 
ensemble playing with the Chamber Music Players. 

Mr. Salmond has appeared in concerts with the 
most celebrated pianists of the day, and as soloist with 
the leading orchestras. He made his first concert ap' 
pearance in the United States in 1922, and has alternated 
his visits here with concert tours of Europe. While 
Mr. Salmond is recognizied as one of the leading expo' 
nents of the classical repertoire for the 'cello, he has 
done much to introduce the works of modern composers. 



Twenty-six 




Felix Salmond 
Head and Instructor, Violoncello Department 




Photograph h\ Kiibifv-Rembrandt 



Carlos Salzedo 
Head and Instructor, Harp Department 



CARLOS SAL2EDO 

Destined to become the leading single factor in 
elevating the harp to a position of undisputed authority 
and popularity, Carlos Sahedo, the creator of "contem^ 
porary harpism," won his earliest laurels in piano and 
solfege. He was born in 1885 in the province of Gironde, 
France, and entered the Bordeaux Conservatory at the 
age of seven. In two years he had won first prizes in 
the piano and solfege departnients. Thence he went to 
the Paris Conservatory, and at the age of twelve began 
the study of the harp. Four years later he won in one 
day the First Prizes for both piano and harp at the 
Paris Conservatory. 

Until he was twenty, Salzedo toured Europe both 
as pianist and harpist. Not until 1909, when Gatti' 
Casaziz^L engaged him as solo harpist with the Metro' 
politan Opera, did the young musician finally determine 
which instrument would be the one to fashion his career. 
But once having adopted the harp, Salzedo set about to 
elevate it to its proper place of importance. He founded 
organizations and movements to attract public interest, 
and alternated his tours of America with visits to Europe. 
The outbreak of the war found him in Europe with the 
Trio de Lutece, and after his discharge from the army, 
Salzedo returned to the United States. 

He organized the Salzedo Harp Ensemble, and was 
elected president of the National Association of Harpists, 
which office he still holds. With Edgar Varese, he formed 
the International Composers' Guild, and issued a maga' 
zine, Eolus, devoted to contemporary music. As a 
teacher, he revitalized harp technique and created the 
system of symbols now universally used to designate 
the means of producing desired effects. His "Modern 
Study of the Harp" is the recognized textbook in this 
branch of music. Salzedo's compositions and transcrip- 
tions are numerous. His symphonic poem, "The En- 
chanted Isle," has been played by the Symphony Or- 
chestras of Chicago, Detroit, Philadelphia and Boston. 

Twentysiven 



DEPARTMENT OF ORCHESTRA 

Arthur Rodzinski, Head of Department 

Conductor of the Students' Orchestra and Instructor 
of Orchestra Classes 

Instructors 

Double Bass, Anton Torello 

Flute, William M. King aid 

Clarinet, Daniel Bonade 

Oboe, Marcel Tabuteau 

Bassoon, Walter Guetter 

Horn, Anton Horner 

Trumpet, Sol Cohen 

Trombone, Gardell Simons 

Tuba, Philip A. Donatelli 

Percussion, Oscar Schwar 

(All the above are solo players of the Philadelphia Orchestra.) 



Twentyeight 



COURSES IN ORCHESTRA INSTRUMENTS 

There is in the United States a serious lack of players 
of woodwind, brass, and percussion instruments, quali' 
fied to hold posts in the many symphony orchestras 
scattered throughout the country. There exist today 
more excellent positions, waiting to be worthily filled, 
than there are players ready to fill them. 

The instructors of orchestral instruments are artists 
who hold in the Philadelphia Orchestra the posts of solo 
players of these various instruments. 

The Orchestra 

All students of string instruments, and those special' 
i2;ing in woodwind, brass, and percussion are required to 
take part regularly in the rehearsals and concerts of the 
student orchestra. This training is intensified by pat' 
ticipation in the orchestra of various solo players of the 
Philadelphia Orchestra. 

Orchestra Classes 

These classes will give students preliminary training 
in orchestral technique, routine, and sight-reading. 



Twentynine 



ARTHUR RODZINSKI 

An innate love for music persisted during the early 
formative years of Arthur Rodziinski, despite the fact that 
his father, who was an army surgeon stationed at Lem' 
berg, Poland, chose the profession of law for his son. 
Born in 1893, young Rodzinski attended the Vienna 
University where he received the degree of Doctor of 
Laws. Then, having been obedient to the parental 
dictum, he turned to music, his real love. At the Vienna 
Academy he studied piano with Sauer and Laleviez; 
theory and composition with Marx and Schreker. His 
teacher in conducting was Schalk, and soon young 
Rod^inski was conducting with Schreker the chorus of 
the Vienna Philharmonic Society, and produced the 
"Totenmesse" of Berlioz. 

The war interrupted his musical activities, but 
after being wounded in action he received his discharge 
and became conductor of the Lemberg Opera. Later he 
was appointed first conductor of the Warsaw Opera, 
and here he was enabled to display his initiative in the 
presentation of new works. RavePs ""L'Heure Es' 
pagnole," Strauss' "Rosenkavalier," D' Albert's "Tote 
Augen" and Ferrari's "Jewels of the Madonna" all 
were heard under the leadership of Rodziinski before 
their presentation in the larger cities of Europe. During 
this period he was also conductor of the Philharmonic 
Orchestra in Warsaw. In 1925 he was engaged by 
Leopold Stokowski as assistant conductor of the Phila' 
delphia Orchestra. 



Thirty 




Photograph by Go\dens}{y 



Arthur Rodzinski 

Head and Instructor, Orchestra Department 
Conductor, Students' Orchestra 



DEPARTMENT OF THEORY 

Reginald O. Morris 

Head of Department 

Instructors in Sol/ege, Harmony, and Counterpoint 

Reginald O. Morris 

Herbert W. Sumsion, Assistant 

Renee Longy Miquelle 

Ethel S. Drummond 

Instructors in Composition and Orchestration 

Reginald O. Morris 

Rosario Scalero 

Abram Chasins 



ACCOMPANISTS 

Harry Kaufman 

Official Accompanist of the Institute 

Other Accompanists: 

Dagmar Rybner Barclay 

Ilsa Reimesch 

and others, drawn from the student 

body of the Institute 



Thirtyonc 



REGINALD OWEN MORRIS 

was born in 1886 and received his education at Harrow 
and New College, Oxford, and later at the Royal College 
of Music in London. He early turned his attention to 
music and studied composition under Dr. Wood and 
orchestration with Cecil Forsyth. As music critic for 
the "Nation" before its merger with the "Athenaeum," 
Morris wielded a thoroughly enlightened influence in 
musical thought and appreciation. In 1920 he was ap' 
pointed Professor of Harmony and Composition at the 
Royal College of Music, where he was actively associ' 
ated with Sir Hugh Allen. He resigned his post in 
London to assume the direction of the Theory Depart' 
ment at The Curtis Institute of Music. Mr. Morris is 
author of "Contrapuntal Technique" and "Foundations 
of Practical Harmony and Counterpoint." His composi- 
tions include both chamber and orchestral music. 



Thirtytwo 




Reginald O. Morris 
Head and Instructor, Theory Department 




Photograph b\ KuheyRembrandt 



ROSARIO SCALERO 
Instructor, Composition 



ROSARIO SCALERO 

The doctrines of musical composition formulated by 
Palestrina have continued in an unbroken line down to 
the present day. The series of celebrated masters who 
have perpetuated the descent, and have maintained the 
traditions of form and style, include such names as 
Zelter, Mendelssohn, Joachim, Brahms, Nottebohm and 
Mandyc2;ewski. It was with Mandycziewski that Ro' 
sario Scalero, teacher and composer, studied for seven 
years in Vienna. 

Scalero, born in 1873, began his musical career as a 
violinist at the Liceo Musicale in Turin. Later his 
studies proceeded with Camillo Sivori in Genoa, and 
then with Wilhelmj in Germany. At the age of twenty, 
Scalero won the title of Distinguished Academician of 
the Royal Academy of St. Cecilia in Rome, and after his 
studies with Mandyczewski he was appointed Docent 
of Musical Form at the same Academy. 

After a series of concerts in the principal cities of 
Europe, Scalero settled in Rome, where he founded the 
Societa del Quartetto, for the performance of ensemble 
and choral works. He has also acted as High Com^ 
missioner for Examinations for the Conservatories of 
Naples, Rome and Parma. His published works are 
numerous and include many compositions for the violin. 



Thirtyihree 



COMPARATIVE ARTS COURSE 

1. Romanticism October 10 

Its Origin and the Spread of the Romantic Period 

Alfred Martin 
Society for Ethical Culture, New York 

2. English Romanticism — Burns and Scott October 17 

Felix E. Schelling, LL.D. 
Professor of History and English Literature, University of Pennsylvania 

3. English Romanticism — Byron . . . October 24 

J. Duncan Spaeth, Ph.D., Litt.D. 

Professor of EngUsh, Princeton University 

4. English Romanticism — Wordsworth, 

Shelley, Keats October 31 

Alfred Martin 
Society for Ethical Culture, New York 

5. English Romanticism J<lovember 7 

Painting in the Eighteenth and Early 
Nineteenth Centuries 
Huger Elliott 
Director of Educational Work, Metropolitan Museum of Art 

6. German Romanticism — Goethe . . Tiovember 14 

Alfred Martin 
Society for Ethical Culture, New York 

7 German Romanticism — Schleiermacher, 
Novalis, Holderlin, The Brothers 

Grimm 7<lovember 21 

Julius Goebel, Ph.D. 
Professor of Germanic Languages, University of Illinois 

8. German Lyricists — Uhland, Heine, 

Morike, Eichendorff, Lenau . . . Tiovember 28 
Julius Goebel, Ph.D. 
Professor of Germanic Languages, University of Illinois 

9. German Romanticism December 5 

Painting : The Dusseldorf School 

Ernst Diez, Ph.D. 

Associate Professor of History of Art, Bryn Mawr College 

10. French Romanticism — Victor Hugo . December 12 

Andre Morize, Agrege-des-Lettres 

Professor of French Literature, Harvard University 

Thirtyfour 



11. French Romanticism — Lamartine, de 

Musset, de Vigny, George Sand . . December 19 

Jean B. Beck, Ph.D. 
Professor of Romance Languages, University of Pennsylvania 

12. French Romanticism January 9 

Painting: Ingres, Millet, Corot, Delacroix 

Thornton Oakley, M. S. 
Artist and Instructor in Illustration, School of Industrial Art 

13. Changing Ideals of the Industrial Age January 16 

Roy F. Nichols, Ph.D. 
Assistant Professor of History, University of Pennsylvania 

14. Tennyson and Browning .... January 23 

J. Duncan Spaeth, Ph.D., Litt.D 

Professor of English, Princeton University 

15. PrE'Raphaelitism January 30 

Louis W. Flaccus, Ph.D. 
Professor of Philosophy, University of Pennsylvania 

16. The Psychological Novel in England 

AND France — George Eliot, Mere' 

dith, Flaubert February 6 

Austin K. Gray, M. A. 

Associate Professor of English Literature, Haverford College 

17. The Threshold of the Modern Musi- 

cal Era — Chopin, Lis2;t, Berlio2; . . February 13 
Olga Samaroff 
Concert Pianist and Music Editor, New York Evening Post 

18. Richard Wagner February 20 

Carl Engel 

Chief of Division of Music, Library of Congress 

19. French Symbolists and Parnassians . February 27 

Jean B. Beck, Ph.D. 

Professor of Romance Languages, University of Pennsylvania 

20. French Impressionist and Modern 

Painters March 5 

Leo Katz 
Artist and Art Critic, New York 

21. Debussy, Ravel and the Modern 

French Composers March 12 

Horace Alwyne, F. R. M. C. M. 

Professor of Music and Director of Department of 

Theoretical Music, Bryn Mawr College 

Thirtyfive 



22. Italian Literature — Manzoni, Car' 

ducci and D"'Annun2;io March 19 

DiNO BiGONGIARI, A. B. 
Associate Professor of Italian, Columbia University 

23. Russian Literature in the Nineteenth 

Century — Pushkin, Gogol, Turgeniev, 

Dostoievski, Tolstoi March 26 

Elbert Lenrow, A. M. 
Instructor in English, University of Pennsylvania 

24. Ibsen and the Modern European 

Drama April 2 

Stark Young 

Author, and Member of the Editorial Staff of The New York Republic 

and Theatre Arts Monthly 

25. The New Spirit in Modern Art . . April 16 

Leo Katz 
Artist and Art Critic, New York 

26. Trends in Music Since the War . . April 23 

Olin Downes 
Music Editor, New York Times 

27. American Literature and the New 

Aesthetic April 30 

Alfred Martin 
Society for Ethical Culture, New York 

28. Modern American Architecture . . May 7 

FisKE Kimball 
Director of The Pennsylvania Museum 



THREE LECTURE-RECITALS ON SEVENTEENTH 
AND EIGHTEENTH CENTURY MUSIC 

By Wanda Landowska 

1. Old Dances. How they were danced and played. 

2. Descriptive Music of the l7th and 18th centuries, 
and its relation to the modern "program music." 

3. John Sebastian Bach and his relation to his predc' 
cessors and contemporaries. 

Thirtysix 



THE ACADEMIC DEPARTMENT 

Believing that a broad cultural background is an 
essential factor in the making of an artist, the Institute, 
in its Academic Department, offers numerous courses of 
studies supplementary to the major work in music, 
whereby the students may secure a foundation on which 
to build in the future. 

The Faculty 

History of Music (from early beginnings 
to 1600 A.D.) and French Literature 

Jean B. Beck, Ph.D. 

Professor of Romance Languages and Literature 

Lecturer on the History of Music 

University of Pennsylvania 

History of Music (from 1600 A.D. on) 

Horace Alwyne, F. R. M. C. M. 

Professor of Music and 

Director of the Department of Theoretical Music 

Bryn Mawr College 

World History 

Roy F. Nichols, A.M., Ph.D. 

Assistant Professor of History 

University of Pennsylvania 

English Literature (and Advanced Composition) 

William Page Harbeson, LL.B., Ph.D. 

Assistant Professor of English Literature 
University of Pennsylvania 



Thirtyseven 



English Diction 

Samuel Arthur King, M.A. (London) 

Lecturer in English Diction 
Bryn Mawr College 

English Composition (elementary and advanced) 
and Comparative Literature 

Elbert Lenrow, A.M. 

Graduate School, Columbia University 
University of Pennsylvania 

French {elementary and intermediate) 

Marie Emma Bourdin'Bacher 

Graduate School, University of Pennsylvania 
Acting Instructor, Swarthmore College 

Italian {Language, Literature, and Diction) 

DOMENICO VlTTORINI, A.M., LiTT.D. 

Assistant Professor of Romance Languages and Literature 
University of Pennsylvania 

German {Language, Literature, and Diction) 

Hermann J. Weigand, Ph.D. 

Assistant Professor of German 
University of Pennsylvania 

Psychology 

Samuel W. Fernberger, Ph.D. 

Assistant Professor of Psychology 
University of Pennsylvania 

Students, unless excused for some valid reason, are required to 
study at least two academic subjects each term and to attend certain 
lectures. 



Thirty'dght 



STUDIES 


Voice 


Orchestra Playing 


Pianoforte : 


Orchestra Instruments : 


Solo 


Double Bass 


Accompanying 
Secondary 


Flute 

Clarinet 

Oboe 


Organ 


Bassoon 




Horn 


Violin 
Viola 


Trumpet 
Trombone 


Violoncello 


Tuba 


Harp 


Percussion 


Chamber Music 


History of Music 


AND Ensemble Playing 


Comparative Arts 




Comparative Literature 


Operatic Coaching 


World History 


AND Repertoire 


Psychology 


Operatic Acting 


Languages, Literature, 


Platform and 


AND Diction : 


Stage Deportment 


English 




French 


EURHYTHMICS 


Italian 




German 


Theory: 




Ear'training 




Sight'singing 




Dictation 




Harmony 
Counterpoint 
Analysis 
Score Reading 




Composition 
Orchestration 





Thirty'tiine 



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Fortytwo 



REQUIREMENTS FOR ENTRANCE 
EXAMINATIONS 

The entrance requirements are presented here in a 
general form, allowing the applicant latitude in the selec' 
tion of works to present for examination. While the 
choice of compositions is important, the manner of per' 
formance carries far greater weight. The final decision 
as to the suitability of an applicant for acceptance rests 
upon the evidence of talent shown, in the examination, 
rather than upon the degree of advancement already 
attained. Admission is limited to such applicants as 
possess unusual talent for the major subject selected, and 
give promise of developing professional excellence. 



Voice 

Applicants must possess a very good voice and 
musical talent. In addition, they should have at least an 
elementary knowledge of music and of pianoforte, while 
some knowledge of languages is most desirable. 

Four selections from the following composers' songs, 
oratorios, or arias are required, preferably from memory : 
Parisotti, Handel, Schubert, Schumann, Fran2;, Brahms, 
Strauss, Tschaikowsky, Rachmaninoff, Faure, Debussy, 
Duparc, Mozart, Biziet, Saint'Saens, Puccini, or Wagner. 



Pianoforte 

Applicants must play from memory a Three^part 
Invention or a Prelude and Fugue from The Well' 
Tempered Clavichord of Bach; a Beethoven sonata, com' 
plete; two selections — one slow and one brilliant — from 
the works of Chopin or Schumann (preferably Chopin). 

Fortythree 



Accompanying 

Applicants shall demonstrate sufficient pianistic 
ability to play satisfactorily some of the more difficult 
studies of Cramer-Biilow, Clementi-Tausig, or C^erny, 
Opus 740. In addition, special stress shall be laid upon 
the candidate's sight-reading powers and sense of musical 
values as shown by his ability to play with reasonable 
fluency either primo or secondo parts of such orchestral 
and chamber works arranged for four hands, as the ex' 
aminer may choose. The applicant shall moreover have 
a fair acquaintance either with some of the standard 
violin and cello works, or, if his preference lie in the direc 
tion of vocal accompaniment, some knowledge of song 
literature. 

Organ 

The following should be submitted from memory: 
(a) Fugue or principal movement from a Sonata or Sym' 
phony (b) a trio and (c) a slow movement. 



Violin 

Applicants should have a precise knowledge of the 
positions and the change of positions, and a complete 
command of scales and the usual ways of bowing. They 
should be able to play selected studies from Kreut^er, 
Rode and Fiorillo, and one or more concertos from the 
works of the following composers: de Beriot, Viotti, 
Spohr, or Vieuxtemps. 

Viola 

Applicants must have some knowledge of the clefs, 
the positions, scales, arpeggios, and be acquainted with 
some of the standard violin studies such as those of Kreut' 
zer; Kayser, Opus 55; or Campagnoli, 41 Caprices, 
Opus 22, which are especially written for the viola. 

Fortyfour 



Violoncello 

Applicants must be able to play satisfactorily all 
major and minor scales and arpeggios; also, a fast and 
a slow movement from a Bach Suite, from memory. They 
may choose for a second composition one movement of a 
concerto from the standard repertoire or one movement 
from a sonata for piano and violoncello, classical or 
modern. 

Harp 

There are no special requirements other than a 
physical adaptability to play the instrument (si2;e of 
hands, arms, thumbs, et cetera), and an elementary 
knowledge of music. 

Orchestra Instruments 

An applicant must have at least an elementary 
knowledge of music and be physically fitted for the instru- 
ment he desires to play. 

Composition 

Applicants must pass examinations in Ear-Training 
Harmony, and Counterpoint and Fugue. They must also 
submit examples of original work indicating that they 
possess genuine creative ability. 

Theory 

After having passed his examination in the major 
subject, the applicant must have a personal interview 
with the Head of the Theory Department and be tested 
in Ear-Training, and general musical knowledge. Assign- 
ments to classes in Solfege, Theory, Harmony, et cetera, 
will be made as a result of these examinations. 



Fortyfive 



ASSIGNMENT TO INSTRUCTORS 

Students are assigned to instructors in accordance 
with the recommendation of the Examiners. While re- 
quests for instruction with particular instructors will be 
given careful consideration, the right is reserved to make 
such assignments as seem to be for the best interests of 
the students. Instructors reserve to themselves the right 
of final acceptance or rejection. 



Forty-six 



ENROLLMENT REQUIREMENTS 

Upon request, forms of application for admission 
will be sent to prospective students. 

The acceptance of an applicant is conditioned upon 
the passing of the entrance examination in the major 
subject. 

The application form, filled in, must be returned with 
a registration fee of $20. This will entitle the applicant 
to take the entrance examination at the time set by The 
Curtis Institute of Music. 

If the applicant is accepted as a student, this fee will 
be credited to the tuition for the first year. If full exempt 
tion in tuition is granted, this fee will be returned. If 
partial exemption in tuition is granted, this fee will be 
deducted from the amount to be paid for the first year. 

If the applicant is not accepted, this fee will be re- 
tained by The Curtis Institute of Music, as a charge for 
the examination. 

An application already on file may be cancelled, if 
written request is made, not less than ten days in ad- 
vance of examination date, in which case the registration 
fee will be returned. 

For Entrance Examination dates, see page 51. 



Forty'seven 



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Fortyeight 



INDIVIDUAL CONTRIBUTIONS 



The following donors have generously offered to 
provide tuition fees for a few exceptionally gifted 
students : 

Mrs. Edward Bok . . . Two students of Pianoforte 

Mr. and Mrs. William Curtis Bok 

One student of Pianoforte 

Mr. and Mrs. Philip S. Collins 

One student of Violin 

Mrs. Cyrus H. K. Curtis . One student of Voice 

(In memory of her daughter, Eleanor Pillsbury Pennell) 

Mr. Cyrus H. K. Curtis 

One student of Trombone 

(In memory of his father, Cyrus Libbey Curtis) 

Mr. Josef Hofmann . . Two students of Pianoforte 

Mr. Carlos Salzedo 

One student of Composition for Harp 

Madame Marcella Sembrich 

One student of Voice 



Forty-nine 



GENERAL INFORMATION 



Living Accommodations 

Upon request, rooming accommodations selected by 
the Counselor to the Student Body will be recommended 
to students, according to individual needs and means. 
Scale of rentals and any further details desired may be 
obtained from the Student Counselor. 

Practice Facilities 

For this purpose, the Institute has special studios 
equipped with Steinway pianos which may be used by 
students. 

Health Measures 

A physician has been appointed by the Institute 
to give immediate attention to students, in case of illness. 

Tea Room 

On week days, homc'cooked luncheons are served, 
at cost. These luncheons form a pleasant break in the 
day. Students and members of the faculty sit at the 
same tables and come to know each other, thus bridging 
the gulf which too often separates student from teacher. 



Fifty 



CALENDAR 

FOR THE SCHOOL YEAR 1927-28 

Entrance Examinations 

Voice — Thursday, Friday and Saturday, September 22, 
23,24 

Fianoforte — Monday, Tuesday and Wednesday, Sep' 
tember 26, 27, 28 

Accompanying Friday, September 30 

Organ Wednesday, September 28 

Violin .... Wednesday and Thursday, September 28, 29 

Viola Thursday, September 29 

Violoncello Thursday, September 29 

Harp Friday, September 30 

Orchestral Instruments Friday, September 30 

Composition, Theory and Solftge .... September 24 to 30 

First Term Begins Monday, October 3, 1927 

First Term Ends Saturday, February 4, 1928 

Second Term Begins Monday, February 6, 1928 

Second Term Ends Saturday, June 2, 1928 

Holidays 

Thanksgiving Thursday, November 24, 1927 

Christmas Vacation . December 23'January 3 (both incl.) 
Washington's Birthday . . Wednesday, February 22, 1928 

Easter Vacation April 5 to 10, 1928 (both incl.) 

Memorial Day Wednesday, May 30, 1928 



Fiftyone 



THE CURTIS QUARTET 

The Curtis Quartet has been organi2;ed as an in' 
tegral part of The Curtis Institute of Music. It consists 
of the following members of the Faculty: Carl Flesch, 
first violin, Emanuel Zetlin, second violin, Louis Bailly, 
viola, and Felix Salmond, violoncello. 

In 1926'27, aside from its concerts for the students, 
the Curtis Quartet appeared in Philadelphia, New York, 
Washington, and Boston. 



Fiftytwo 



FACULTY RECITALS 

During the School Year 1926-27 the following 
recitals were given by members of the Faculty : 

November 5 . . Harriet van Emden Soprano 

November 10 . . Felix Salmond Violoncellist 

November 17 • • Benno Moiseivitsch Pianist 

December 1 . . Carl Flesch Violinist 

December 8 . . Carlos Salzedo Harpist 

December 15. .Curtis Quartet 

January 19 ... • Madame Charles Cahier . . . Contralto 

January 26 ... . Curtis Quartet (Foyer) 

February 9 . . . . Horatio Connell Baritone 

February 16 . . . Emanuel Zetlin Violinist 

February 23 . . . Louis Bailly Viola 

March 2 Frank Gittelson Violinist 

April 10 Wanda Landowska Harpsichord 

April 12 Isabelle Vengerova Pianist 

April 13 Emilio de Gogorza Baritone 

April 27 MoRiz Rosenthal Pianist 

May 26 Josef Hofmann Pianist 



Fifty'three 



STUDENTS' CONCERTS 

Twenty 'nine Students' Concerts were given during 
the School Year 1926'27, with programs presented by 
students in Pianoforte, Voice, Violin, Viola, Violoncello, 
Harp, Chamber Music, Orchestra, and Chorus. 

In the nine Students' Concerts devoted to Chamber 
Music, the following works were played: 

Beethoven . . . String Quartet in E minor, Op. 59, No. 2 
String Quartet in F minor. Op. 95 
String Quartet in A minor, Op. 132 
String Quartet in F minor. Op. 135 
Pianoforte Trio in C minor. Op. 1, No. 3 
Pianoforte Trio in B flat major, Op. 97 

Brahms String Quintet in G major. Op. Ill 

Pianoforte Quartet in A major. Op. 26 
String Sextet in G major, Op. 36 
Pianoforte Quartet in C minor. Op. 60 

Chausson .... "Chanson Perpetuelle" for Voice, Piano' 
forte, and String Quartet, Op. 37 
Concert for Pianoforte, Violin, and String 
Quartet in D major, Op. 21 

Debussy 1st String Quartet, in G minor, Op. 10 

Haydn String Quartet in D major. Op. 20, No. 4 

Jacobi, Fred. . String Quartet on Indian Themes 

LoEFFLER String Quartet in E minor (1917) 

Mozart String Quartet in D major (Kochel 575) 

Saint'Saens . . Septet for Pianoforte, Strings, and Trum' 
pet in E flat major. Op. 65 

Schubert. . . .Pianoforte Quintet in A major, Op. 114 

Schumann . . . Pianoforte Trio in D minor. Op. 63 

Tschaikowsky . String Quartet in D major. Op. 11 
Pianoforte Trio in A minor. Op. 50 

Zilcher "Aus dem Hohelied Salomonis"; Varia' 

tions for two Voices, String Quartet, 
and Pianoforte, in E major. Op. 38 

Fiftyfour 



STUDENT- ORCHESTRA 
CONCERTS 

Several student orchestra concerts are given each 
year. The last of such concerts was given Sunday after' 
noon, April 24, 1927, in the Academy of Music, Leopold 
Stokowski and Arthur Rodzinski conducting. The fol' 
lowing was the program: 

Handel Overture in D minor 

(Leopold Sto\ows\i, Conducting) 

Bach Brandenburg Concerto No. 5 in D major 

for Violin, Flute, Piano and String 
Orchestra 

Jay Savitt, Violin (Student under Carl Flesch) 

Richard Townsend, Flute (Student under William M. Kincaid) 

Jeanne Behrend, Pianoforte (Student under Josef Hofmann) 

(Leopold Sto\owsl^, Conducting) 

Brahms Final Movement from Symphony in C 

minor. No. 1 

(Arthur Rodzins\i, Conducting) 

Verdi "Credo" from "Otello" ) 

Massenet "Vision Fugitive" from > for Baritone 

"Herodiade" ) 

Benjamin Groban (Student under Madame Cahier) 
(Arthur Rodzinsk}, Conducting) 

Borodin Polovtsian Dances from "Prince Igor" 

{Leopold Sto^ows^i, Conducting) 



Pifty'five 



LIST OF STUDENTS 
192&1927 

Adohmyan, Lahn* Philadelphia 

AiTKEN, Webster Los Angeles, California 

Albling, Sadie E Portland, Maine 

Amansky, Selma C Baltimore, Maryland 

Aronoff, Max Philadelphia 

Baker, Rita M Philadelphia 

Barabini, Olga New York City 

Barber, Samuel O West Chester, Pennsylvania 

Barker, Eleanor W.* Philadelphia 

Barringer, Elizabeth* Philadelphia 

Baskin, S. Matilda Drifton, Pennsylvania 

Behrend, Jeanne Philadelphia 

Belcher, Louise A Philadelphia 

Benner, William N San Diego, California 

Berkowitz, Rosela S Philadelphia 

Berman, Grace Detroit, Michigan 

Berthold, Edward G.* East Orange, New Jersey 

Betelle, Helen Roanoke, Virginia 

Bethel, Lucille Newark, New Jersey 

Binder, Rose Newark, New Jersey 

BiNZ, Ralph E Philadelphia 

Bitter, John F New York City 

Blankenship, Marion G Lancaster, Pennsylvania 

Bleil, Regina R.* Pittsburgh, Pennsylvania 

Bly, Edith W Philadelphia 

Boehm, Alberta Kansas City, Missouri 

BoRKEY, Florence R Tamaqua, Pennsylvania 

BoYiNGTON, Alfred M Kansas City, Missouri 

Braun, Edith E Merion, Pennsylvania 

Braverman, Bella Philadelphia 

Briselli, Iso Berlin, Germany 

Brock, Anne B Philadelphia 

BuRNWooD, George B Philadelphia 

Caddell, Marjorie J Brooklyn, New York 

Cameron, Richard J Philadelphia 

Cameron, William T Providence, Rhode Island 

Cardin, Fred Miami, Oklahoma 

Carettnay, Illa Philadelphia 

Carlson, Marie L Devils Lake, North Dakota 

Carmi, Miriam Petah'Tickwah, Palestine 

Carpenter, James McF., Jr.* Haverford, Pennsylvania 



Cassini, Leonard London, England 

Challenger, Edward P., 2nd New Castle, Delaware 

Chase, Mildred* • Syracuse, New York 

Chasins, Abram New York City 

Chasins, Ethel New York City 

Chazin, Joseph* Philadelphia 

Cheesman, L. Virginia Philadelphia 

Cherkassky, Shura Odessa, Russia 

Cole, Orlando T Philadelphia 

CoLLEY, Christine Dayton, Ohio 

CoNANT, Katherine L Bridgewater, Massachusetts 

Conn, Sherman* Pittsburgh, Pennsylvania 

Couch, Marion G.* Greenville, South Carolina 

Coye, John S Wilmington, Delaware 

CuRRAN, Robert E Auburn, New York 

D'Andrea, Mary H Pleasantville, New Jersey 

Daugherty, Eleanor Oil City, Pennsylvania 

Dear, Stephen Philadelphia 

DE Blasiis, Martha J Glens Falls, New York 

DE Blasiis, A. Virginia Glens Falls, New York 

Deibert, Dorothy N Fort Sill, Oklahoma 

Demarest, Charles N Madison, Wisconsin 

DE Schauensee, Max Philadelphia 

Diaz, Antonio B Mexico City, Mexico 

Eastman, Mary B Los Angeles, California 

Elman, Esther New York City 

Elman, Liza New York City 

Elson, Joseph* Chicago, Illinois 

Evans, Wilbur W Philadelphia 

Fahringer, Mary E.* Audenried, Pennsylvania 

Farny, Lionel M.* Allentown, Pennsylvania 

Ferguson, Paull F Robinson, Illinois 

Ferguson, Tirzah G Minneapolis, Minnesota 

Fields, Eleanor L Norristown, Pennsylvania 

Fink, Mary M Baltimore, Maryland 

FiscHOFF, Joseph South Bend, Indiana 

Fisher, Florence Toledo, Ohio 

FiTTs, Logan Merchantville, New Jersey 

Forbes, Mildred W Philadelphia 

Frantz, Florence Baltimore, Maryland 

Freed, David Philadelphia 

Freedman, Sarah* Philadelphia 

Friedman, Theodore J Philadelphia 

FuLDA, Boris Moscow, Russia 



Fiftyseven 



GARDihfER, Virginia Kingston, New York 

Garratt, Harold V Philadelphia 

Geer, Ella L Charleston, Illinois 

Germer, Meredith J.* Harrisburg, Pennsylvania 

Gershman, Paul Vineland, New Jersey 

Gesensway, Louis Toronto, Canada 

GiACOBBE, Stellario* Philadelphia 

Gilbert, Gama Philadelphia 

GiNSBURG, Kathryn Los Angeles, California 

GoDDARD, Eleanor Swarthmore, Pennsylvania 

Gold, Hinda Toronto, Canada 

GouGH, Frank, Jr Lumberton, North Carolina 

Gray, Alexander Providence, Rhode Island 

Gray, John Providence, Rhode Island 

Green, Sylvia Trenton, New Jersey 

Greenberg, Albert A Philadelphia 

Gregg, Frances Y Urbana, Ohio 

Gregory, Euphemia M Philadelphia 

Groban, Benjamin Grand Rapids, Michigan 

Halbwachs, Martha L New York City 

Hall, Helen Dallas, Texas 

Harcum, Edith Bryn Mawr, Pennsylvania 

Hardison, William, Jr.* Morrellton, Arkansas 

Hare, Esther B Caldwell, Idaho 

Harman, Marian S Bloomsburg, Pennsylvania 

Harms, William H Ottawa, Kansas 

Headman, F. Melvin Philadelphia 

Healy, Daniel L Framingham, Massachusetts 

Henderson, Charles, Jr Lansdowne, Pennsylvania 

Hepler, Emily S Ventnor, New Jersey 

HicE, Arthur E Philadelphia 

Hochstetter, Edna Philadelphia 

Hodge, Dorothy F Philadelphia 

Hodge, Muriel B Philadelphia 

Hoffman, Wilhelmina D Parma, Idaho 

Hooper, Carl V Mapelton, Pennsylvania 

HoRLE, Henriette Philadelphia 

Hubbard, Blanche* Philadelphia 

Irons, Florence E Burlington, New Jersey 

Jepson, Helen E Akron, Ohio 

JiRAK, Josephine A Kansas City, Kansas 

Johnson, Lacy Philadelphia 

Johnson, Russell Philadelphia 

Jones, Francis E Schenectady, New York 

JuRCiuKONis, JuozAS Philadelphia 

JusKO, Ralph V Worcester, Massachusetts 

Fifty'cight 



Kagan, Pescha Washington, Pennsylvania 

Kahn, Gordon G Philadelphia 

Kaplan, Tillie Portland, Maine 

Kaplan, Vilma Baltimore, Maryland 

Kattman, Evelyn A.* Canton, Ohio 

Kaufman, Harry Philadelphia 

KiMMEL, Lewis H Carlisle, Pennsylvania 

Klass, Harry Sydney, AustraHa 

Knitzer, Joseph New York City 

KoRN, Alice D Ambler, Pennsylvania 

KowALSKA, Sabina W Wilmington, Delaware 

Krainis, Abraham Coney Island, New York 

Krinsky, Yvonne Newark, New Jersey 

Lamas, Eugene Brooklyn, New York 

Lamb, Lillian A Portland, Maine 

Lazzaro, Alfio Philadelphia 

Lebow, Paul Baltimore, Maryland 

Lee, Warren L Philadelphia 

Lenrow, Elbert New York City 

Levine, Joseph S Philadelphia 

Lewis, Eleanor J St. Albans, Vermont 

LocKHART, Dorothy Philadelphia 

LocKwooD, Ross Duquesne, Pennsylvania 

LucHS, Selma B Philadelphia 

Maker, Rosamund E Philadelphia 

Mapes, Gordon M Binghamton, New York 

Marzyck, Mary A Denver, Colorado 

Matison, Lily Santa Monica, California 

Mayers, Bernard L Philadelphia 

McGiNNis, Robert E Wyncote, Pennsylvania 

Meiskey, Elsa Lancaster, Pennsylvania 

Mitchell, Ercelle Baltimore, Maryland 

MoLiND, Aaron Philadelphia 

Moll, David* Chicago, Illinois 

Montgomery, Bessie Wynnewood, Pennsylvania 

Montgomery, Mary B Villa Nova, Pennsylvania 

Moody, Katharine Indianola, Mississippi 

MooRE, Dorothy Columbus, Ohio 

Morales, Angelica M Mexico City, Mexico 

Morgan, Catharine Norristown, Pennsylvania 

Morrisett, James S Winston'Salem, North Carolina 

MoRSEMAN, Florence Sedalia, Missouri 

MuNRO, Lucile Philadelphia 

MuRDOCK, Victoria M Wichita, Kansas 

Fifty-nine 



Nazarevitch, Xenia New York City 

Nichols, Alice* Wilmington, Delaware 

Otterstein, Adolph W Denver, Colorado 

Oyen, Esther D Seattle, Washington 

Oyen, Penelope Seattle, Washington 

Page, Marion S.* North Fargo, North Dakota 

Paget, Ethel M Philadelphia 

Parker, Madge H Toronto, Canada 

Perry, Dorothy I Hillsboro, Illinois 

Petraitis, Peter V Homestead, Pennsylvania 

Pettit, Harlan C* Pittsburg, Kansas 

Phillips, Edna M Wyomissing Hills, Pennsylvania 

Pickens, Jane Atlanta, Georgia 

Pierce, Dorothy E Philadelphia 

PoLisi, William Philadelphia 

Pollard, Elizabeth G Swarthmore, Pennsylvania 

PoLvoGT, Esther L Baltimore, Maryland 

PosKA, Judith Seattle, Washington 

Potamkin, Frank J Philadelphia 

Power, Dorothy B.* Philadelphia 

zu PuTLiTZ, Lois V Los Angeles, California 

Pyle, Ella W Wilmington, Delaware 

Raphael, Bernard Philadelphia 

Reardon, Casper a Schenectady, New York 

Reatha, Reva Detroit, Michigan 

Reeves, Mary C Wausau, Wisconsin 

Reilly, Josephine P Philadelphia 

Reinert, Clarence W AUentown, Pennsylvania 

Reinhardt, Donald S Llanerch Manor, Pennsylvania 

Reinhardt, Louise Wilmington, Delaware 

Resnikoff, Vera Odessa, Russia 

Reynolds, Llewellyn S.* Washington, D. C. 

Richardson, John B Philadelphia 

Rizzo, David J Philadelphia 

Roberts, Elizabeth R.* Philadelphia 

Roberts, Eloise A Philadelphia 

Robinson, Carl R Louisville, Kentucky 

Rogers, Edith M Newburyport, Massachusetts 

RoLiN, Mary C Strafford, Pennsylvania 

Rose, Kathryn V Brookline, Pennsylvania 

RuBANOFF, Joseph R Philadelphia 

Ruhrseitz, Esther B Sweden 

Ryan, William K.* Haverford, Pennsylvania 



Sixty 



Savitt, Jay Philadelphia 

Scales, Catherine B Philadelphia 

ScHiOLER, EiLER T Copenhagen, Denmark 

Schwartz, Frank J Philadelphia 

Seenofsky, Max* Philadelphia 

Seiger, Suzanne Pittsburgh, Pennsylvania 

Shanklin, Margaret E Wichita, Kansas 

Sharlip, Benjamin Philadelphia 

Sharp, Marion Salt Lake City, Utah 

Sharp, Maurice O Sheridan, Wyoming 

Shefter, Abram* Philadelphia 

Sheridan, Frances E New Castle, Delaware 

Shields, Miriam N Denver, Colorado 

SiEGEL, Adrian* New York City 

Simons, Charlotte Chicago, Illinois 

Singer, Jacques Jersey City, New Jersey 

Sister Regina Dolores Philadelphia 

Skillington, Susan V Altoona, Pennsylvania 

Snyder, Sophia Pittsburgh, Pennsylvania 

Snyder, Thelma H Harrisburg, Pennsylvania 

SoLoviEFF, David Philadelphia 

Stacey, Aletha G Wellington, Ohio 

Stackhouse, R. Elizabeth Bloomsburg, Pennsylvania 

Standing, Georgia V Salt Lake City, Utah 

Stern, Lucie Riga, Latvia 

Stetler, Floraine a Detroit, Michigan 

Stevens, Margaret CoUingswood, New Jersey 

Stratton, Charles W Manhattan, Kansas 

Straub, Virginia M Lancaster, Pennsylvania 

SwARTZ, Beatrice S.* Baltimore, Maryland 

Taylor, Florine Lynchburg, Virginia 

Temianka, Henry Antwerp, Belgium 

Thorp, Carl W., Jr Cleveland, Ohio 

ToLCEs, TosKA New York City 

TowNSEND, Richard E Philadelphia 

Townsend, Winifred Philadelphia 

Tracy, Gerald B Portsmouth, Virginia 

Trafficante, Elisabeth Philadelphia 

Tucker, Gregory H Philadelphia 

Tyson, Evelyn* Jenkintown, Pennsylvania 

Ullberg, Lloyd E Oakland, California 

Unger, William R Pittsburgh, Pennsylvania 

Urbanek, Caroline V Lowell, Massachusetts 

Van Buskirk, S. Elizabeth Pottstown, Pennsylvania 

Varallo, John J Philadelphia 



Sixtyone 



ViOHL, Herbert K Wilmington, Delaware 

ViOHL, Walter C Wilmington, Delaware 

Waite, Grace E* Glenolden, Pennsylvania 

Walker, Louise P Ottawa, Kansas 

Wallen, Hobart L.* San Diego, California 

Walstrum, Theodore P Ridgewood, New Jersey 

Watson, Mary E Kansas City, Missouri 

Wegmann, Cecile D Yonkers, New York 

Whitley, Hazel Detroit, Michigan 

Whitmer, Rachel P Philadelphia 

WiGHTMAN, Florence Philadelphia 

Wilkinson, James M Baltimore, Maryland 

Williams, Florence Allentown, Pennsylvania 

Wills, Helen J Newport News, Virginia 

Wisdom, Leon B Pittsburgh, Pennsylvania 

Wolf, Jennie Philadelphia 

Woods, Edna B Rye, New York 

Wyner, Louis Atlantic City, New Jersey 

Yaeckel, Louis W Hollywood, California 

Zimmerman, Oscar G Philadelphia 

ZoLLETTE, Sandro S Philadelphia 



*Withdrawing before the close of the year. 



Sixtytwo 



INDEX 

Page 

Accompanists 31 

Accompanying 18 

Ancient Music 36 

Assignment to Instructors 46 

Biographical Notes — Bailly, Louis 25 

Farnam, Lynnwood 21 

Flesch, Carl 23 

Gogorzia, Emilio de 17 

Hofmann, Josef 19 

Luboshutz, Lea 24 

Morris, Reginald 32 

Rodanski, Arthur 30 

Rosenthal, Moriz 20 

Salmond, Felix 26 

Salzedo, Carlos 27 

Scalero, Rosario 33 

Sembrich, Marcella 16 

Buildings 12 

Calendar 51 

Coaching 15 

Comparative Arts Course 34, 35, 36 

Concert Hall 13 

Concerts — Students' 54 

Student'Orchestra 55 

Curtis Quartet 52 

Departments — Academic 37, 38 

Chamber Music 22 

Harp 22 

Orchestra 28 

Organ 18 

Pianoforte 18 

Theory and Composition 31 

Viola 22 

Violin 22 

Violoncello 22 

Voice 15 

Diction 15 

Sixtythree 



Page 

Enrollment Requirements 47 

Equipment 12 

Eurhythmies 15 

Executive Staff 11 

Faculty — Academic 37, 38 

Musical 14, 15, 18, 22, 28, 31 

Faculty Recitals 53 

General Information 50 

Heads of Departments 14 

Individual Contributions 49 

Library 12 

List of Students 56, 57, 58, 59, 60, 61, 62 

Location 12 

Offer to Students 7 

Officers 10 

Operatic Acting 15 

Orchestra Classes 29 

Orchestra Instruments, Courses in 29 

Plan of Studies 40, 41, 42 

Purpose 5 

Requirements for Entrance Examinations 43, 44, 45 

Secondary Piano 18 

Stage Deportment 15 

Studies 39 

Tuition Fees 48 



Sixty-four 



BMle-Faret Press 
Philadelphia 



THE CURTIS INSTITUTE OF MUSIC 

Endowed by Mary Louise Curtis Bok 
Josef Hofmann, Director 

Announces a Course of Twenty 'eight Lectures on 

COMPARATIVE ARTS 

To be given on Monday afternoons at 3:15 o'clock 
in the Concert Hall of the Institute 

Beginning October 10, 1927 
Ending May 7, 1928 



RiTTENHOUSE SqUARE 

Philadelphia Pennsylvania 



nnHE COURSE OF LECTURES on Comparative Arts has been estab' 
-*- lished as an integral part of the cultural activities of The Curtis 
Institute of Music. From the beginning of the school in 1924 
such a series of lectures has been given each season. It gives much 
pleasure to announce that again, as in the past, the series will be 
open to a limited number of subscribers, in addition to students 
of the Institute. 

The lectures will be held in the new Concert Hall of the In' 
stitute, now nearing completion. While the seating capacity of 
the Hall will allow for the accommodation of a few more auditors 
than in past seasons, patrons are reminded that the allotment to 
the public is limited. 

Course Ticket Thirty Dollars 



THE LECTURES 

1. Romanticism - October lO 

Its Origin and the Spread of the Romantic Period 

Alfred Martin 
Society for Ethical Culture, New York 

2. English Romanticism — Burns and Scott October 17 

Felix E. Schelling, LL.D. 
Professor of History and English Literature, University of Pennsylvania 

3. English Romanticism — Byron Oaober 24 

J. Duncan Spaeth, Ph.D., Litt.D. 

Professor of English, Princeton University 

4. English Romanticism — Wordsworth, Shelley, Keats . October 31 

Mr. Alfred Martin 

5. English Romanticism Hovember 7 

Painting in the Eighteenth and Early Nineteenth Centuries 

HuGER Elliott 

Director of Educational Work, Metropolitan Museum of Art 

6. German Romanticism — Goethe T^ovember 14 

Mr. Alfred Martin 

7. German Romanticism — Schleiermacher, Novalis, Holderlin, 

The Brothers Grimm T^ovember 21 

Julius Goebel, Ph.D. 

Professor of Germanic Languages, University of Illinois 

8. German Lyricists — Uhland, Heine, Morike, Eichendorff, 

LenaU J^ovemher 28 

Dr. Julius Goebel 

9. German Romanticism December 5 

Painting: The Diisseldorf School 

Ernst Deez, Ph.D. 

Associate Professor of History of Art, Bryn Mawr College 

10. French Romanticism — Victor Hugo December 12 

Andre Morize, Agrege-deS'Lettres 
Professor of French Literature, Harvard University 

11. French Romanticism — Lamartine, de Musset, de Vigny, 

George Sand December 19 

Jean B. Beck, Ph.D. 
Professor of Romance Languages, University of Pennsylvania 

12. French Romanticism January 9 

Painting: Ingres, Millet, Corot, Delacroix 

Thornton Oakley, M. S. 

Artist and Instructor in Illustration, School of Industrial Art 

13. Changing Ideals of the Industrial Age January i6 

Roy F. Nichols, Ph.D. 
Assistant Professor of History, University of Pennsylvania 



14. Tennyson and Browning January 23 

Dr. J. Duncan Spaeth 

15. PrE'RaPHAELITISM January 30 

Louis W. Flaccus, Ph.D. 

Professor of Philosophy, University of Pennsylvania 

16. The Psychological Novel in England and France — George 

Eliot, Meredith, Flaubert February 6 

Austin K. Gray, M. A. 

Associate Professor of English Literature, Haverford College 

17. The Threshold of the Modern Musical Era — Chopin, 

Liszt, Berlioz February 13 

Olga Samaroff 
Concert Pianist and Music Editor, New York Evening Post 

18. Richard Wagner February 20 

Carl Engel 
Chief of Division of Music, Library of Congress 

19. French Symbolists and Parnassians February 27 

Dr. Jean B. Beck 

20. French Impressionist and Modern Painters March 5 

Leo Katz 
Artist and Critic, New York City 

21. Debussy, Ravel and the Modern French Composers March 12 

Horace Alwyne, F. R. M. C. M. 

Professor of Music and Director of Department of 
Theoretical Music, Bryn Mawr College 

22. Italian Literature — Manzoni, Carducci and D'Annunzio March i9 

DtNO BiGONGIARI, A. B. 
Associate Professor of Italian, Columbia University 

23. Russian Literature in the Nineteenth Century — Pushkin, 

Gogol, Turgeniev, Dostoievski, Tolstoi March 26 

Elbert Lenrow, A. M. 
Instructor in English, University of Pennsylvania 

24. Ibsen and the Modern European Drama April 2 

Stark Young 
Author, and Member of the Editorial Staff of The New Republic and Theatre Arts Monthly 

25. The New Spirit in Modern Art April 16 

Mr. Leo Katz 

26. Trends in Music Since the War April 23 

Olin Downes 
Music Editor, New York Times 

27. American Literature and the New Aesthetic .... April 30 

Mr. Alfred Martin 

28. Modern American Architecture May 7 

FisKE Kimball 
Director of The Pennsylvania Museum 






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